Spring found! ☺️ Happy Easter! - Great, modern form (create date: 1846-1847) of Cello & Piano Sonata in G minor Op.65: Allegro moderato, PART I. Misha Maisky & Martha Argerich❗
❗CHOPIN, Cello & Piano Sonata in G minor Op. 65. FULL❗→ • CHOPIN, Cello & Piano ...
Fryderyk CHOPIN and His CELLO! in my collections and studies → • Fryderyk Chopin ~ CELLO!
★ Porównanie / Comparison: Cello & Piano Sonata Op.65 (1/4) Allegro moderato. D. Shafran, A. Ginsburg → • Fryderyk Chopin, Cello...
♥ MARTHA ARGERICH in my collections and studies → • ♥ MARTHA ARGERICH ♥
Misha Maisky ♥ in my collections and studies → • Misha Maisky
💖 THE BEST OF CHOPIN in the collections and studies of CzarMuzyki • THE BEST OF CHOPIN in ...
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(...) The Sonata in G minor, composed for piano and cello, juxtaposes those two worlds, but also combines them: one evoked by remembrance of the past and the other imagined - looking into the future.
With regard to the overall form, architecture or dramatic structure of this work, the G minor Sonata follows the path of the previous piano sonatas (in C minor, B flat minor and B minor). It is a sonata that is Romantic par excellence, albeit derived from a Classical model. It comprises four movements that are distinctly contrasted in terms of expression and character: an opening sonata allegro, with ballade-like features, a closing rondo, marked by a dance character, and between them a Scherzo and a song-like Largo.
It is not difficult to discover that the opening themes of all four movements begin with an analogous interval structure. In this way, Chopin’s Sonata anticipates a composition practice that will become popular during the second half of the century, known as the principle of ‘cyclic unity’.
The first presentation of the motif that is writ large in this work as a sort of ‘motto’ is brought by the opening theme of the Allegro - first in the piano and a moment later, with the utmost distinction, in the cello. A moment’s pause, and then the opening theme is heard in the cello, sung in a full, but gentle voice. It sounds like a song being hummed on a march. Just a few more bars and then the Allegro’s principal theme sings out in the cello. It is accompanied, complemented and counterpointed by the piano. But the next moment it is the piano that takes over the lead in this increasingly emotional dialogue.
In ecstatic flight, the main theme passes onto another tonal layer (C minor) and reaches a peak. In one of the manuscripts, it is characterised with the term maestoso. In this Sonata, too, the themes come in groups. For example, the group of the first theme closes with the supplicatory phrases of the final theme. A moment of hushed expectancy arises. The ‘response’, brought by the opening phrases of the lyrical second theme (B flat major), is quiet and collected.
After a while, this theme also starts to develop into a continuous dialogue. That dialogue picks up a head of steam and the agitation increases, before descending a moment later into a hushed, intimate exchange of ideas. And only now does the narrative of the sonata allegro approach the end of the exposition; that is, the presentation of the figures among which the next two acts of the sonata drama will be played out - the development and the reprise. Before paving the way to the further parts of the Allegro, the last bars of the exposition seem to pull themselves free of the framework that holds them.
The Sonata’s second movement, the Scherzo, though played out in a gloomy key (D minor), initially seems to bring some amusement - playing between the two instruments. The Scherzo’s main theme recurs insistently, interrupted at times by the piano figuration. This amusement takes on a succession of forms, but there comes a point when it turns intoa rather disturbing game. The Scherzo has a symmetrical design. Its middle section is filled by a trio (in the parallel key of D major). It brings a surprise, as it unfurls a cantabile sung by the cello to the piano’s harp-like accompaniment. Such a cantabile might have been written by Dvořák or Tchaikovsky. If the performers manage to avoid slipping into a sentimental tone, then the listener is lifted into a thoughtful world of pure, inviolate remembrance. But this was just a foretaste. We are fully transported to a faraway world by the Largo (movement III). (...)
Author: Mieczysław Tomaszewski.
A series of programmes entitled ‘Fryderyk Chopin's Complete Works’
Polish Radio 2.
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