- published: 24 Sep 2010
- views: 998953
-
remove the playlistBerceuse (chopin)
- remove the playlistBerceuse (chopin)
Berceuse
A berceuse is "a musical composition usually in 6/8 time that resembles a lullaby". Otherwise it is typically in triple meter. Tonally most berceuses are simple, often merely alternating tonic and dominant harmonies; since the intended effect is to put a baby to sleep, wild chromaticism would be somewhat out of character. Another characteristic of the berceuse, for no reason other than convention, is a tendency to stay on the "flat side"; noted examples including the berceuses by Chopin, who pioneered the form,Liszt, and Balakirev, which are all in D♭.
Music
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Berceuse
Berceuse (Chopin)
Frédéric Chopin's Berceuse Op. 57 (1843–44) is a lullaby to be played on piano. It consists of variations in D-flat major. At first the composer titled the work Variations, but the title was altered for publication to the current Berceuse.
It was first published by J. Meissonnier of Paris in 1844 and dedicated to Elise Gavard (1824–1900).
Structure
The music begins and ends in 6/8 time. 'Berceuse' literally means "cradle song".
References
External links
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Berceuse_(Chopin)
Dolly (Fauré)
The Dolly Suite, Op. 56, is a collection of pieces for piano four-hands by Gabriel Fauré. It consists of short pieces written or revised between 1893 and 1896, to mark the birthdays and other events in the life of the daughter of the composer's mistress.
An orchestral version of the suite was scored in 1906 by Henri Rabaud, and has, like the original piano duet version, received several recordings. The best-known section of the suite, the Berceuse, has been arranged for several combinations of instruments.
The suite, consisting of six short pieces, each with its own title: Berceuse, Mi-a-ou, Le jardin de Dolly, Kitty-valse, Tendresse and Le pas espagnol. The complete suite takes about fifteen minutes to perform.
Analysis
Fauré wrote or revised the pieces between 1893 and 1896, for Hélène Bardac (1892–1985), known to her family as Dolly (she was later Madame Gaston de Tinan). She was the young daughter of the singer Emma Bardac, with whom Fauré had a long-running affair. He was in the practice of sending pieces of music, in manuscript, to mark Dolly's birthdays and other family occasions.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Dolly_(Fauré)
Podcasts:
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Chopin Berceuse Op 57 D Flat Major
Now available on itunes! https://music.apple.com/ca/album/chopin-recital/1495167562 Another little extra piece ( LOL) from Hannover Chopin Etudes recording sessions. This one was the very last recorded and we had barely 5 minutes before we had to get out of the hall :-)
published: 24 Sep 2010 -
Chopin: Berceuse in D-flat major, Op.57 (Michelangeli, Rubinstein, Moravec, Ashkenazy, Pollini)
Like all of Chopin’s late works, the Berceuse is a pianistic masterpiece. But it stands out from the rest of Chopin’s late works, because it contains no innovation in terms of structure or harmony (cf. the Polonaise-Fantasie, or the Barcarolle and the radical harmony of its last pages). Instead, the Berceuse is a truly breathtaking showcase of ornamental-figural thematic transfiguration, featuring dazzling pianistic filigree, luxurious dissonances, inventive counterpoint, and a whole array of spectacular colouristic effects. Chopin imposes on himself the extreme discipline of a single four-bar phrase repeated sixteen times, always in the same meter and key, over an ostinato ground that *nearly* repeats itself in identical form in every single bar – structural minimalism paired with textur...
published: 23 Apr 2016 -
Frédéric Chopin - Berceuse in D flat Major, Op. 57
In the summer of 1843, Chopin wrote one of his most mature and subtlest works: the Berceuse in D flat major, Op. 57. The manuscript of the work’s first sketch was in the possession of Pauline Viardot, hence we may guess that this delicate and tender music was inspired by Chopin’s fascination with the ‘personality’ of Mrs Viardot’s daughter, Louisette. The little creature may have aroused in Chopin memories of the atmosphere of his own family home. The Berceuse, composed at Nohant, appears to constitute a distant echo of a song that Chopin’s mother sang to him: the romance of Laura and Philo, ‘Już miesiąć zeszedł, psy się uśpily’ [The moon now has risen, the dogs are asleep]. (Chopin incorporated the melody of this romance into one of his earlier works: the Fantasy on Polish Airs, Op. 13.) ...
published: 16 Dec 2017 -
Chopin: Berceuse in D-Flat Major, Op. 57
Provided to YouTube by Universal Music Group Chopin: Berceuse in D-Flat Major, Op. 57 · Maurizio Pollini Chopin: Nocturnes, Mazurkas, Berceuse, Sonata, Opp. 55-58 ℗ 2018 Deutsche Grammophon GmbH, Berlin Released on: 2019-01-25 Producer: Christopher Alder Studio Personnel, Recording Engineer: Klaus Hiemann Studio Personnel, Asst. Recording Engineer: Oliver Rogalla Von Heyden Studio Personnel, Mastering Engineer: Lukas Kowalski Composer: Frédéric Chopin Auto-generated by YouTube.
published: 24 Jan 2019 -
Arthur Rubinstein - Chopin Berceuse, Op 57
Arthur Rubinstein - Chopin Berceuse, Op 57
published: 13 Jul 2009 -
Michelangeli plays Chopin Berceuse Op. 57 D Flat Major
published: 23 Feb 2013 -
Jayson Gillham – Berceuse in D flat major, Op. 57 (second stage, 2010)
Jayson Gillham II etap Berceuse Des-dur op. 57 Jayson Gillham Second stage Berceuse in D flat major, Op. 57 All rights reserved 2010 The Fryderyk Chopin Institute (NIFC), Polish Television (TVP), National Audiovisual Institute (NInA)
published: 26 Feb 2016 -
Tiffany Poon - Chopin Berceuse Op.57
Recorded on May 16, 2018 - 2 months later, I think I would play this a little differently today, but I hope this was worth the wait anyway (*wink* Instagram peeps)! ~~~ Download this audio and more exclusive content on Patreon: http://www.patreon.com/tiffanypoonpianist ~~~ Tiffany on Social Media: https://www.facebook.com/tiffanypoonpianist https://www.instagram.com/tiffanypianist https://twitter.com/tiffanypianist Buy Tiffany's CD "Natural Beauty"! http://www.cdbaby.com/cd/tiffanypoon1 iTunes: https://itunes.apple.com/us/album/natural-beauty/879633249 Official Website: http://www.tiffanypoon.com/
published: 20 Jul 2018 -
Bertrand Chamayou plays Chopin: Berceuse in D-Flat Major, Op. 57
The lyrical Berceuse was one of Chopin's later works, composed between 1843 and 1844. Discover this gem within the program of Bertrand Chamayou's album of lullabies: https://w.lnk.to/gncLY The sixteen lullabies – or berceuses – that pianist Bertrand Chamayou has chosen for Good Night! embrace a diversity of eras and musical cultures: Chopin, Liszt, Grieg and, of course, Brahms through Balakirev, Lyapunov, Alkan, Bonis, Busoni, Janáček, Martinů and Villa-Lobos to Helmut Lachenmann and a world premiere, Bryce Dessner’s Song for Octave. __________ Warner Classics ► Website: http://www.warnerclassics.com Subscribe to our: ► YT- Channel: https://wnrcl.me/subscribeYT ► Newsletter https://wnrcl.me/subscribeNL Follow us on: ► Facebook: http://www.fb.com/WarnerClassicsErato ► Insta...
published: 02 Oct 2020 -
Irene Veneziano – Berceuse in D flat major Op. 57 (third stage, 2010)
Irene Veneziano III etap Berceuse Des-dur op. 57 Irene Veneziano Third stage Berceuse in D flat major Op. 57 All rights reserved 2010 The Fryderyk Chopin Institute (NIFC), Polish Television (TVP), National Audiovisual Institute (NInA)
published: 06 May 2016
developed with YouTube
3:47
Chopin Berceuse Op 57 D Flat Major
- Order: Reorder
- Duration: 3:47
- Uploaded Date: 24 Sep 2010
- views: 998953
Now available on itunes!
https://music.apple.com/ca/album/chopin-recital/1495167562
Another little extra piece ( LOL) from Hannover Chopin Etudes recordin...
Now available on itunes!
https://music.apple.com/ca/album/chopin-recital/1495167562
Another little extra piece ( LOL) from Hannover Chopin Etudes recording sessions. This one was the very last recorded and we had barely 5 minutes before we had to get out of the hall :-)
https://wn.com/Chopin_Berceuse_Op_57_D_Flat_Major
Now available on itunes!
https://music.apple.com/ca/album/chopin-recital/1495167562
Another little extra piece ( LOL) from Hannover Chopin Etudes recording sessions. This one was the very last recorded and we had barely 5 minutes before we had to get out of the hall :-)
22:50
Chopin: Berceuse in D-flat major, Op.57 (Michelangeli, Rubinstein, Moravec, Ashkenazy, Pollini)
- Order: Reorder
- Duration: 22:50
- Uploaded Date: 23 Apr 2016
- views: 529449
Like all of Chopin’s late works, the Berceuse is a pianistic masterpiece. But it stands out from the rest of Chopin’s late works, because it contains no innovat...
Like all of Chopin’s late works, the Berceuse is a pianistic masterpiece. But it stands out from the rest of Chopin’s late works, because it contains no innovation in terms of structure or harmony (cf. the Polonaise-Fantasie, or the Barcarolle and the radical harmony of its last pages). Instead, the Berceuse is a truly breathtaking showcase of ornamental-figural thematic transfiguration, featuring dazzling pianistic filigree, luxurious dissonances, inventive counterpoint, and a whole array of spectacular colouristic effects. Chopin imposes on himself the extreme discipline of a single four-bar phrase repeated sixteen times, always in the same meter and key, over an ostinato ground that *nearly* repeats itself in identical form in every single bar – structural minimalism paired with textural maximalism, as it were.
It’s a wonder, given its formal constraints, that the Berceuse gives pianists so much space for interpretive freedom, but a bit of thought makes it clear that the pianist needs to make a whole bunch of difficult interpretive decisions. Is the LH figuration supposed to be played in strict rhythm, or is a tiny shade of diminuendo in the second half of each bar OK? Is the tempo supposed to remain constant throughout, or can it relax for denser passages [such as 1:51]? Sometimes it’s obvious the tempo must relax [see 2:16], but by how much? When Chopin writes passages that are obviously contrapuntal even if no counterpoint is indicated in the score [as in 1:22, 2:21], how much emphasis should be given to the hidden voices? Is the Berceuse supposed to be reverentially lyrical [slower tempi, more emphasis on each note: see Ashkenazy], or is it sweetly and straightforwardly melodic [faster tempi, more emphasis on the arc of the phrase: see Rubinstein]? What is the exact significance of the apparent foray into G-flat major at the end of the piece, and how much should those C flats be emphasised?
In any case, all five pianists in this video give very convincing if quite different performances of the Berceuse: in all honesty, I’m usually fondest of whichever interpretation I’m listening too, but I think Moravec and Pollini are especially persuasive.
00:00 – Michelangeli. Nearly constant (and by modern standards relatively rapid) tempo throughout, with rapid cascades of notes dispatched with incredible lightness and elegance. The tone is burnished, glowing. The most Debussy-like of all the interpretations.
04:15 – Rubinstein. The most rhythmic of the interpretations, with a pulse that forms the base for some of the most effortlessly joyful lyrical playing I’m come across. There are several similarities with the Michelangeli recording: Rubinstein constantly favours the upper voice in contrapuntal passages, and his tempo is also brisk (although he is willing to reduce speed at points like 6:06).
08:32 – Moravec. Relentlessly lyrical (turn up the volume a bit!) I think his is the only recording I know of where you can actually hear those long slurs Chopin indicates – Moravec’s legato is kind of amazing. His tone is hushed, intimate, his playing especially free [at 9:29, he lets his hands start to go slightly out of sync, and at 10:54, where some pianists (see Michelangeli) begin a slight accelerando toward the end of the phrase, he introduces a marked diminuendo instead.] I don’t think anyone does softer trills than his at 11:17, which come as a surprise after that sparkling downward scale.
13:25 – Ashkenazy. The slowest of the interpretations. Reverential and meditative, with a particularly quiet LH and a tempo that remains surprisingly constant, even in the densest passages – a real sense of stillness pervades. He emphasises lower voices more than most.
18:26 – Pollini. Full of gorgeous little touches, such as the tiny accelerando Pollini puts in the LH (in the opening) at the exact moment the harmony changes from tonic to dominant. Especially striking is the way he handles counterpoint: he first introduces it so gently in the first variation it slips in almost unnoticed, but at moments like 19:57 lets the invisible lower voice speak with great eloquence. His use of rubato is also quite noteworthy – note how he often begins cascading passages with a slight breath before accelerating over the whole phrase.
https://wn.com/Chopin_Berceuse_In_D_Flat_Major,_Op.57_(Michelangeli,_Rubinstein,_Moravec,_Ashkenazy,_Pollini)
Like all of Chopin’s late works, the Berceuse is a pianistic masterpiece. But it stands out from the rest of Chopin’s late works, because it contains no innovation in terms of structure or harmony (cf. the Polonaise-Fantasie, or the Barcarolle and the radical harmony of its last pages). Instead, the Berceuse is a truly breathtaking showcase of ornamental-figural thematic transfiguration, featuring dazzling pianistic filigree, luxurious dissonances, inventive counterpoint, and a whole array of spectacular colouristic effects. Chopin imposes on himself the extreme discipline of a single four-bar phrase repeated sixteen times, always in the same meter and key, over an ostinato ground that *nearly* repeats itself in identical form in every single bar – structural minimalism paired with textural maximalism, as it were.
It’s a wonder, given its formal constraints, that the Berceuse gives pianists so much space for interpretive freedom, but a bit of thought makes it clear that the pianist needs to make a whole bunch of difficult interpretive decisions. Is the LH figuration supposed to be played in strict rhythm, or is a tiny shade of diminuendo in the second half of each bar OK? Is the tempo supposed to remain constant throughout, or can it relax for denser passages [such as 1:51]? Sometimes it’s obvious the tempo must relax [see 2:16], but by how much? When Chopin writes passages that are obviously contrapuntal even if no counterpoint is indicated in the score [as in 1:22, 2:21], how much emphasis should be given to the hidden voices? Is the Berceuse supposed to be reverentially lyrical [slower tempi, more emphasis on each note: see Ashkenazy], or is it sweetly and straightforwardly melodic [faster tempi, more emphasis on the arc of the phrase: see Rubinstein]? What is the exact significance of the apparent foray into G-flat major at the end of the piece, and how much should those C flats be emphasised?
In any case, all five pianists in this video give very convincing if quite different performances of the Berceuse: in all honesty, I’m usually fondest of whichever interpretation I’m listening too, but I think Moravec and Pollini are especially persuasive.
00:00 – Michelangeli. Nearly constant (and by modern standards relatively rapid) tempo throughout, with rapid cascades of notes dispatched with incredible lightness and elegance. The tone is burnished, glowing. The most Debussy-like of all the interpretations.
04:15 – Rubinstein. The most rhythmic of the interpretations, with a pulse that forms the base for some of the most effortlessly joyful lyrical playing I’m come across. There are several similarities with the Michelangeli recording: Rubinstein constantly favours the upper voice in contrapuntal passages, and his tempo is also brisk (although he is willing to reduce speed at points like 6:06).
08:32 – Moravec. Relentlessly lyrical (turn up the volume a bit!) I think his is the only recording I know of where you can actually hear those long slurs Chopin indicates – Moravec’s legato is kind of amazing. His tone is hushed, intimate, his playing especially free [at 9:29, he lets his hands start to go slightly out of sync, and at 10:54, where some pianists (see Michelangeli) begin a slight accelerando toward the end of the phrase, he introduces a marked diminuendo instead.] I don’t think anyone does softer trills than his at 11:17, which come as a surprise after that sparkling downward scale.
13:25 – Ashkenazy. The slowest of the interpretations. Reverential and meditative, with a particularly quiet LH and a tempo that remains surprisingly constant, even in the densest passages – a real sense of stillness pervades. He emphasises lower voices more than most.
18:26 – Pollini. Full of gorgeous little touches, such as the tiny accelerando Pollini puts in the LH (in the opening) at the exact moment the harmony changes from tonic to dominant. Especially striking is the way he handles counterpoint: he first introduces it so gently in the first variation it slips in almost unnoticed, but at moments like 19:57 lets the invisible lower voice speak with great eloquence. His use of rubato is also quite noteworthy – note how he often begins cascading passages with a slight breath before accelerating over the whole phrase.
- published: 23 Apr 2016
- views: 529449
4:28
Frédéric Chopin - Berceuse in D flat Major, Op. 57
- Order: Reorder
- Duration: 4:28
- Uploaded Date: 16 Dec 2017
- views: 113242
In the summer of 1843, Chopin wrote one of his most mature and subtlest works: the Berceuse in D flat major, Op. 57. The manuscript of the work’s first sketch w...
In the summer of 1843, Chopin wrote one of his most mature and subtlest works: the Berceuse in D flat major, Op. 57. The manuscript of the work’s first sketch was in the possession of Pauline Viardot, hence we may guess that this delicate and tender music was inspired by Chopin’s fascination with the ‘personality’ of Mrs Viardot’s daughter, Louisette. The little creature may have aroused in Chopin memories of the atmosphere of his own family home. The Berceuse, composed at Nohant, appears to constitute a distant echo of a song that Chopin’s mother sang to him: the romance of Laura and Philo, ‘Już miesiąć zeszedł, psy się uśpily’ [The moon now has risen, the dogs are asleep]. (Chopin incorporated the melody of this romance into one of his earlier works: the Fantasy on Polish Airs, Op. 13.)
The Berceuse consists of a series of variations on that theme remembered from his childhood. They are quite singular variations, not divided by rests, barely four bars in length, sailing on a single wave – the arabesque of an increasingly subtle and elaborate melody. Above all, they sail over a single bass figure repeated several dozen times, known as a basso ostinato. Only for a moment, just before the end, does Chopin have the melody run above a different sounding bass.
Chopin tried to write a work designed along similar lines in 1829. That comprised variations on a theme of Paganini, which also succeeded one another without a break. Chopin called that work Variants, which was also the original name of the Berceuse. Its course was summarised by Zdzisław Jachimecki: ‘At first the melody of the Berceuse shows itself in its entirety. It is joined by the middle voice, which with its syncopations banters with the theme [bars 7–10]. Subsequently, the theme sounds solely in grace notes [bars 15–18]. Finally, it is pulverised into some luminous dust, transformed into a volatile state of almost immaterial little passages, trills and fioriture [bars 44–46]. Then (in the ending) it returns in its original form [bars 63–66]’.
Arthur Hedley expressed his admiration for the Berceuse in the following words: ‘The Berceuse is one of those happy inspirations which can never be repeated. A rocking ostinato bass, a short melodic phrase dissolving into sixteen variations – and there we have the cradle-song to discourage any one from attempting to write another.’
Author: Mieczysław Tomaszewski
[Cykl audycji "Fryderyka Chopina Dzieła Wszystkie"]
Polish Radio, program II
https://wn.com/Frédéric_Chopin_Berceuse_In_D_Flat_Major,_Op._57
In the summer of 1843, Chopin wrote one of his most mature and subtlest works: the Berceuse in D flat major, Op. 57. The manuscript of the work’s first sketch was in the possession of Pauline Viardot, hence we may guess that this delicate and tender music was inspired by Chopin’s fascination with the ‘personality’ of Mrs Viardot’s daughter, Louisette. The little creature may have aroused in Chopin memories of the atmosphere of his own family home. The Berceuse, composed at Nohant, appears to constitute a distant echo of a song that Chopin’s mother sang to him: the romance of Laura and Philo, ‘Już miesiąć zeszedł, psy się uśpily’ [The moon now has risen, the dogs are asleep]. (Chopin incorporated the melody of this romance into one of his earlier works: the Fantasy on Polish Airs, Op. 13.)
The Berceuse consists of a series of variations on that theme remembered from his childhood. They are quite singular variations, not divided by rests, barely four bars in length, sailing on a single wave – the arabesque of an increasingly subtle and elaborate melody. Above all, they sail over a single bass figure repeated several dozen times, known as a basso ostinato. Only for a moment, just before the end, does Chopin have the melody run above a different sounding bass.
Chopin tried to write a work designed along similar lines in 1829. That comprised variations on a theme of Paganini, which also succeeded one another without a break. Chopin called that work Variants, which was also the original name of the Berceuse. Its course was summarised by Zdzisław Jachimecki: ‘At first the melody of the Berceuse shows itself in its entirety. It is joined by the middle voice, which with its syncopations banters with the theme [bars 7–10]. Subsequently, the theme sounds solely in grace notes [bars 15–18]. Finally, it is pulverised into some luminous dust, transformed into a volatile state of almost immaterial little passages, trills and fioriture [bars 44–46]. Then (in the ending) it returns in its original form [bars 63–66]’.
Arthur Hedley expressed his admiration for the Berceuse in the following words: ‘The Berceuse is one of those happy inspirations which can never be repeated. A rocking ostinato bass, a short melodic phrase dissolving into sixteen variations – and there we have the cradle-song to discourage any one from attempting to write another.’
Author: Mieczysław Tomaszewski
[Cykl audycji "Fryderyka Chopina Dzieła Wszystkie"]
Polish Radio, program II
- published: 16 Dec 2017
- views: 113242
4:30
Chopin: Berceuse in D-Flat Major, Op. 57
- Order: Reorder
- Duration: 4:30
- Uploaded Date: 24 Jan 2019
- views: 263972
Provided to YouTube by Universal Music Group
Chopin: Berceuse in D-Flat Major, Op. 57 · Maurizio Pollini
Chopin: Nocturnes, Mazurkas, Berceuse, Sonata, Opp. 5...
Provided to YouTube by Universal Music Group
Chopin: Berceuse in D-Flat Major, Op. 57 · Maurizio Pollini
Chopin: Nocturnes, Mazurkas, Berceuse, Sonata, Opp. 55-58
℗ 2018 Deutsche Grammophon GmbH, Berlin
Released on: 2019-01-25
Producer: Christopher Alder
Studio Personnel, Recording Engineer: Klaus Hiemann
Studio Personnel, Asst. Recording Engineer: Oliver Rogalla Von Heyden
Studio Personnel, Mastering Engineer: Lukas Kowalski
Composer: Frédéric Chopin
Auto-generated by YouTube.
https://wn.com/Chopin_Berceuse_In_D_Flat_Major,_Op._57
Provided to YouTube by Universal Music Group
Chopin: Berceuse in D-Flat Major, Op. 57 · Maurizio Pollini
Chopin: Nocturnes, Mazurkas, Berceuse, Sonata, Opp. 55-58
℗ 2018 Deutsche Grammophon GmbH, Berlin
Released on: 2019-01-25
Producer: Christopher Alder
Studio Personnel, Recording Engineer: Klaus Hiemann
Studio Personnel, Asst. Recording Engineer: Oliver Rogalla Von Heyden
Studio Personnel, Mastering Engineer: Lukas Kowalski
Composer: Frédéric Chopin
Auto-generated by YouTube.
- published: 24 Jan 2019
- views: 263972
4:40
Arthur Rubinstein - Chopin Berceuse, Op 57
- Order: Reorder
- Duration: 4:40
- Uploaded Date: 13 Jul 2009
- views: 363682
Arthur Rubinstein - Chopin Berceuse, Op 57
Arthur Rubinstein - Chopin Berceuse, Op 57
https://wn.com/Arthur_Rubinstein_Chopin_Berceuse,_Op_57
Arthur Rubinstein - Chopin Berceuse, Op 57
- published: 13 Jul 2009
- views: 363682
4:37
Michelangeli plays Chopin Berceuse Op. 57 D Flat Major
- Order: Reorder
- Duration: 4:37
- Uploaded Date: 23 Feb 2013
- views: 298533
- published: 23 Feb 2013
- views: 298533
4:50
Jayson Gillham – Berceuse in D flat major, Op. 57 (second stage, 2010)
- Order: Reorder
- Duration: 4:50
- Uploaded Date: 26 Feb 2016
- views: 66109
Jayson Gillham
II etap
Berceuse Des-dur op. 57
Jayson Gillham
Second stage
Berceuse in D flat major, Op. 57
All rights reserved 2010
The Fryderyk Chopin In...
Jayson Gillham
II etap
Berceuse Des-dur op. 57
Jayson Gillham
Second stage
Berceuse in D flat major, Op. 57
All rights reserved 2010
The Fryderyk Chopin Institute (NIFC), Polish Television (TVP), National Audiovisual Institute (NInA)
https://wn.com/Jayson_Gillham_–_Berceuse_In_D_Flat_Major,_Op._57_(Second_Stage,_2010)
Jayson Gillham
II etap
Berceuse Des-dur op. 57
Jayson Gillham
Second stage
Berceuse in D flat major, Op. 57
All rights reserved 2010
The Fryderyk Chopin Institute (NIFC), Polish Television (TVP), National Audiovisual Institute (NInA)
- published: 26 Feb 2016
- views: 66109
4:43
Tiffany Poon - Chopin Berceuse Op.57
- Order: Reorder
- Duration: 4:43
- Uploaded Date: 20 Jul 2018
- views: 166401
Recorded on May 16, 2018 - 2 months later, I think I would play this a little differently today, but I hope this was worth the wait anyway (*wink* Instagram pee...
Recorded on May 16, 2018 - 2 months later, I think I would play this a little differently today, but I hope this was worth the wait anyway (*wink* Instagram peeps)!
~~~
Download this audio and more exclusive content on Patreon: http://www.patreon.com/tiffanypoonpianist
~~~
Tiffany on Social Media:
https://www.facebook.com/tiffanypoonpianist
https://www.instagram.com/tiffanypianist
https://twitter.com/tiffanypianist
Buy Tiffany's CD "Natural Beauty"! http://www.cdbaby.com/cd/tiffanypoon1
iTunes: https://itunes.apple.com/us/album/natural-beauty/879633249
Official Website: http://www.tiffanypoon.com/
https://wn.com/Tiffany_Poon_Chopin_Berceuse_Op.57
Recorded on May 16, 2018 - 2 months later, I think I would play this a little differently today, but I hope this was worth the wait anyway (*wink* Instagram peeps)!
~~~
Download this audio and more exclusive content on Patreon: http://www.patreon.com/tiffanypoonpianist
~~~
Tiffany on Social Media:
https://www.facebook.com/tiffanypoonpianist
https://www.instagram.com/tiffanypianist
https://twitter.com/tiffanypianist
Buy Tiffany's CD "Natural Beauty"! http://www.cdbaby.com/cd/tiffanypoon1
iTunes: https://itunes.apple.com/us/album/natural-beauty/879633249
Official Website: http://www.tiffanypoon.com/
- published: 20 Jul 2018
- views: 166401
4:46
Bertrand Chamayou plays Chopin: Berceuse in D-Flat Major, Op. 57
- Order: Reorder
- Duration: 4:46
- Uploaded Date: 02 Oct 2020
- views: 33848
The lyrical Berceuse was one of Chopin's later works, composed between 1843 and 1844. Discover this gem within the program of Bertrand Chamayou's album of lulla...
The lyrical Berceuse was one of Chopin's later works, composed between 1843 and 1844. Discover this gem within the program of Bertrand Chamayou's album of lullabies: https://w.lnk.to/gncLY
The sixteen lullabies – or berceuses – that pianist Bertrand Chamayou has chosen for Good Night! embrace a diversity of eras and musical cultures: Chopin, Liszt, Grieg and, of course, Brahms through Balakirev, Lyapunov, Alkan, Bonis, Busoni, Janáček, Martinů and Villa-Lobos to Helmut Lachenmann and a world premiere, Bryce Dessner’s Song for Octave.
__________
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Along with its sister label Erato, Warner Classics continues this tradition with today's most in-demand classical artists, such as Philippe Jaroussky, Joyce DiDonato, Diana Damrau, Emmanuel Pahud, Alexandre Tharaud, Sir Antonio Pappano, Christina Pluhar and Renaud Capuçon.
Enjoy this ever-expanding library of official performance videos and exclusive interviews from the classical greats. Check back regularly for more music from your favourite composers including Bach, Mozart, Chopin, Debussy, Satie, Beethoven, Vivaldi, Handel and more.
#ClassicalMusic #Chopin
https://wn.com/Bertrand_Chamayou_Plays_Chopin_Berceuse_In_D_Flat_Major,_Op._57
The lyrical Berceuse was one of Chopin's later works, composed between 1843 and 1844. Discover this gem within the program of Bertrand Chamayou's album of lullabies: https://w.lnk.to/gncLY
The sixteen lullabies – or berceuses – that pianist Bertrand Chamayou has chosen for Good Night! embrace a diversity of eras and musical cultures: Chopin, Liszt, Grieg and, of course, Brahms through Balakirev, Lyapunov, Alkan, Bonis, Busoni, Janáček, Martinů and Villa-Lobos to Helmut Lachenmann and a world premiere, Bryce Dessner’s Song for Octave.
__________
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Warner Classics is the home of classical music, featuring iconic high audio quality recordings from the greatest classical legends, opera stars and orchestras of the last century.
Discover our unique collection of live performances, studio sessions and films featuring Maria Callas, Jacqueline du Pré, Nigel Kennedy, Mstislav Rostropovich, Yehudi Menuhin, Itzhak Perlman, Herbert von Karajan, Berliner Philharmoniker and more.
Along with its sister label Erato, Warner Classics continues this tradition with today's most in-demand classical artists, such as Philippe Jaroussky, Joyce DiDonato, Diana Damrau, Emmanuel Pahud, Alexandre Tharaud, Sir Antonio Pappano, Christina Pluhar and Renaud Capuçon.
Enjoy this ever-expanding library of official performance videos and exclusive interviews from the classical greats. Check back regularly for more music from your favourite composers including Bach, Mozart, Chopin, Debussy, Satie, Beethoven, Vivaldi, Handel and more.
#ClassicalMusic #Chopin
- published: 02 Oct 2020
- views: 33848
4:45
Irene Veneziano – Berceuse in D flat major Op. 57 (third stage, 2010)
- Order: Reorder
- Duration: 4:45
- Uploaded Date: 06 May 2016
- views: 31266
Irene Veneziano
III etap
Berceuse Des-dur op. 57
Irene Veneziano
Third stage
Berceuse in D flat major Op. 57
All rights reserved 2010
The Fryderyk Chopin I...
Irene Veneziano
III etap
Berceuse Des-dur op. 57
Irene Veneziano
Third stage
Berceuse in D flat major Op. 57
All rights reserved 2010
The Fryderyk Chopin Institute (NIFC), Polish Television (TVP), National Audiovisual Institute (NInA)
https://wn.com/Irene_Veneziano_–_Berceuse_In_D_Flat_Major_Op._57_(Third_Stage,_2010)
Irene Veneziano
III etap
Berceuse Des-dur op. 57
Irene Veneziano
Third stage
Berceuse in D flat major Op. 57
All rights reserved 2010
The Fryderyk Chopin Institute (NIFC), Polish Television (TVP), National Audiovisual Institute (NInA)
- published: 06 May 2016
- views: 31266
3:47
Chopin Berceuse Op 57 D Flat Major
Now available on itunes!
https://music.apple.com/ca/album/chopin-recital/1495167562
Ano...
published: 24 Sep 2010
Chopin Berceuse Op 57 D Flat Major
Chopin Berceuse Op 57 D Flat Major
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- published: 24 Sep 2010
- views: 998953
Now available on itunes!
https://music.apple.com/ca/album/chopin-recital/1495167562
Another little extra piece ( LOL) from Hannover Chopin Etudes recording sessions. This one was the very last recorded and we had barely 5 minutes before we had to get out of the hall :-)
22:50
Chopin: Berceuse in D-flat major, Op.57 (Michelangeli, Rubinstein, Moravec, Ashkenazy, Pollini)
Like all of Chopin’s late works, the Berceuse is a pianistic masterpiece. But it stands ou...
published: 23 Apr 2016
Chopin: Berceuse in D-flat major, Op.57 (Michelangeli, Rubinstein, Moravec, Ashkenazy, Pollini)
Chopin: Berceuse in D-flat major, Op.57 (Michelangeli, Rubinstein, Moravec, Ashkenazy, Pollini)
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- published: 23 Apr 2016
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Like all of Chopin’s late works, the Berceuse is a pianistic masterpiece. But it stands out from the rest of Chopin’s late works, because it contains no innovation in terms of structure or harmony (cf. the Polonaise-Fantasie, or the Barcarolle and the radical harmony of its last pages). Instead, the Berceuse is a truly breathtaking showcase of ornamental-figural thematic transfiguration, featuring dazzling pianistic filigree, luxurious dissonances, inventive counterpoint, and a whole array of spectacular colouristic effects. Chopin imposes on himself the extreme discipline of a single four-bar phrase repeated sixteen times, always in the same meter and key, over an ostinato ground that *nearly* repeats itself in identical form in every single bar – structural minimalism paired with textural maximalism, as it were.
It’s a wonder, given its formal constraints, that the Berceuse gives pianists so much space for interpretive freedom, but a bit of thought makes it clear that the pianist needs to make a whole bunch of difficult interpretive decisions. Is the LH figuration supposed to be played in strict rhythm, or is a tiny shade of diminuendo in the second half of each bar OK? Is the tempo supposed to remain constant throughout, or can it relax for denser passages [such as 1:51]? Sometimes it’s obvious the tempo must relax [see 2:16], but by how much? When Chopin writes passages that are obviously contrapuntal even if no counterpoint is indicated in the score [as in 1:22, 2:21], how much emphasis should be given to the hidden voices? Is the Berceuse supposed to be reverentially lyrical [slower tempi, more emphasis on each note: see Ashkenazy], or is it sweetly and straightforwardly melodic [faster tempi, more emphasis on the arc of the phrase: see Rubinstein]? What is the exact significance of the apparent foray into G-flat major at the end of the piece, and how much should those C flats be emphasised?
In any case, all five pianists in this video give very convincing if quite different performances of the Berceuse: in all honesty, I’m usually fondest of whichever interpretation I’m listening too, but I think Moravec and Pollini are especially persuasive.
00:00 – Michelangeli. Nearly constant (and by modern standards relatively rapid) tempo throughout, with rapid cascades of notes dispatched with incredible lightness and elegance. The tone is burnished, glowing. The most Debussy-like of all the interpretations.
04:15 – Rubinstein. The most rhythmic of the interpretations, with a pulse that forms the base for some of the most effortlessly joyful lyrical playing I’m come across. There are several similarities with the Michelangeli recording: Rubinstein constantly favours the upper voice in contrapuntal passages, and his tempo is also brisk (although he is willing to reduce speed at points like 6:06).
08:32 – Moravec. Relentlessly lyrical (turn up the volume a bit!) I think his is the only recording I know of where you can actually hear those long slurs Chopin indicates – Moravec’s legato is kind of amazing. His tone is hushed, intimate, his playing especially free [at 9:29, he lets his hands start to go slightly out of sync, and at 10:54, where some pianists (see Michelangeli) begin a slight accelerando toward the end of the phrase, he introduces a marked diminuendo instead.] I don’t think anyone does softer trills than his at 11:17, which come as a surprise after that sparkling downward scale.
13:25 – Ashkenazy. The slowest of the interpretations. Reverential and meditative, with a particularly quiet LH and a tempo that remains surprisingly constant, even in the densest passages – a real sense of stillness pervades. He emphasises lower voices more than most.
18:26 – Pollini. Full of gorgeous little touches, such as the tiny accelerando Pollini puts in the LH (in the opening) at the exact moment the harmony changes from tonic to dominant. Especially striking is the way he handles counterpoint: he first introduces it so gently in the first variation it slips in almost unnoticed, but at moments like 19:57 lets the invisible lower voice speak with great eloquence. His use of rubato is also quite noteworthy – note how he often begins cascading passages with a slight breath before accelerating over the whole phrase.
4:28
Frédéric Chopin - Berceuse in D flat Major, Op. 57
In the summer of 1843, Chopin wrote one of his most mature and subtlest works: the Berceus...
published: 16 Dec 2017
Frédéric Chopin - Berceuse in D flat Major, Op. 57
Frédéric Chopin - Berceuse in D flat Major, Op. 57
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- published: 16 Dec 2017
- views: 113242
In the summer of 1843, Chopin wrote one of his most mature and subtlest works: the Berceuse in D flat major, Op. 57. The manuscript of the work’s first sketch was in the possession of Pauline Viardot, hence we may guess that this delicate and tender music was inspired by Chopin’s fascination with the ‘personality’ of Mrs Viardot’s daughter, Louisette. The little creature may have aroused in Chopin memories of the atmosphere of his own family home. The Berceuse, composed at Nohant, appears to constitute a distant echo of a song that Chopin’s mother sang to him: the romance of Laura and Philo, ‘Już miesiąć zeszedł, psy się uśpily’ [The moon now has risen, the dogs are asleep]. (Chopin incorporated the melody of this romance into one of his earlier works: the Fantasy on Polish Airs, Op. 13.)
The Berceuse consists of a series of variations on that theme remembered from his childhood. They are quite singular variations, not divided by rests, barely four bars in length, sailing on a single wave – the arabesque of an increasingly subtle and elaborate melody. Above all, they sail over a single bass figure repeated several dozen times, known as a basso ostinato. Only for a moment, just before the end, does Chopin have the melody run above a different sounding bass.
Chopin tried to write a work designed along similar lines in 1829. That comprised variations on a theme of Paganini, which also succeeded one another without a break. Chopin called that work Variants, which was also the original name of the Berceuse. Its course was summarised by Zdzisław Jachimecki: ‘At first the melody of the Berceuse shows itself in its entirety. It is joined by the middle voice, which with its syncopations banters with the theme [bars 7–10]. Subsequently, the theme sounds solely in grace notes [bars 15–18]. Finally, it is pulverised into some luminous dust, transformed into a volatile state of almost immaterial little passages, trills and fioriture [bars 44–46]. Then (in the ending) it returns in its original form [bars 63–66]’.
Arthur Hedley expressed his admiration for the Berceuse in the following words: ‘The Berceuse is one of those happy inspirations which can never be repeated. A rocking ostinato bass, a short melodic phrase dissolving into sixteen variations – and there we have the cradle-song to discourage any one from attempting to write another.’
Author: Mieczysław Tomaszewski
[Cykl audycji "Fryderyka Chopina Dzieła Wszystkie"]
Polish Radio, program II
4:30
Chopin: Berceuse in D-Flat Major, Op. 57
Provided to YouTube by Universal Music Group
Chopin: Berceuse in D-Flat Major, Op. 57 · M...
published: 24 Jan 2019
Chopin: Berceuse in D-Flat Major, Op. 57
Chopin: Berceuse in D-Flat Major, Op. 57
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- published: 24 Jan 2019
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Provided to YouTube by Universal Music Group
Chopin: Berceuse in D-Flat Major, Op. 57 · Maurizio Pollini
Chopin: Nocturnes, Mazurkas, Berceuse, Sonata, Opp. 55-58
℗ 2018 Deutsche Grammophon GmbH, Berlin
Released on: 2019-01-25
Producer: Christopher Alder
Studio Personnel, Recording Engineer: Klaus Hiemann
Studio Personnel, Asst. Recording Engineer: Oliver Rogalla Von Heyden
Studio Personnel, Mastering Engineer: Lukas Kowalski
Composer: Frédéric Chopin
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4:40
Arthur Rubinstein - Chopin Berceuse, Op 57
Arthur Rubinstein - Chopin Berceuse, Op 57
published: 13 Jul 2009
Arthur Rubinstein - Chopin Berceuse, Op 57
Arthur Rubinstein - Chopin Berceuse, Op 57
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- published: 13 Jul 2009
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Arthur Rubinstein - Chopin Berceuse, Op 57
4:37
Michelangeli plays Chopin Berceuse Op. 57 D Flat Major
published: 23 Feb 2013
Michelangeli plays Chopin Berceuse Op. 57 D Flat Major
Michelangeli plays Chopin Berceuse Op. 57 D Flat Major
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- published: 23 Feb 2013
- views: 298533
4:50
Jayson Gillham – Berceuse in D flat major, Op. 57 (second stage, 2010)
Jayson Gillham
II etap
Berceuse Des-dur op. 57
Jayson Gillham
Second stage
Berceuse in...
published: 26 Feb 2016
Jayson Gillham – Berceuse in D flat major, Op. 57 (second stage, 2010)
Jayson Gillham – Berceuse in D flat major, Op. 57 (second stage, 2010)
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- published: 26 Feb 2016
- views: 66109
Jayson Gillham
II etap
Berceuse Des-dur op. 57
Jayson Gillham
Second stage
Berceuse in D flat major, Op. 57
All rights reserved 2010
The Fryderyk Chopin Institute (NIFC), Polish Television (TVP), National Audiovisual Institute (NInA)
4:43
Tiffany Poon - Chopin Berceuse Op.57
Recorded on May 16, 2018 - 2 months later, I think I would play this a little differently ...
published: 20 Jul 2018
Tiffany Poon - Chopin Berceuse Op.57
Tiffany Poon - Chopin Berceuse Op.57
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- published: 20 Jul 2018
- views: 166401
Recorded on May 16, 2018 - 2 months later, I think I would play this a little differently today, but I hope this was worth the wait anyway (*wink* Instagram peeps)!
~~~
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~~~
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4:46
Bertrand Chamayou plays Chopin: Berceuse in D-Flat Major, Op. 57
The lyrical Berceuse was one of Chopin's later works, composed between 1843 and 1844. Disc...
published: 02 Oct 2020
Bertrand Chamayou plays Chopin: Berceuse in D-Flat Major, Op. 57
Bertrand Chamayou plays Chopin: Berceuse in D-Flat Major, Op. 57
- Report rights infringement
- published: 02 Oct 2020
- views: 33848
The lyrical Berceuse was one of Chopin's later works, composed between 1843 and 1844. Discover this gem within the program of Bertrand Chamayou's album of lullabies: https://w.lnk.to/gncLY
The sixteen lullabies – or berceuses – that pianist Bertrand Chamayou has chosen for Good Night! embrace a diversity of eras and musical cultures: Chopin, Liszt, Grieg and, of course, Brahms through Balakirev, Lyapunov, Alkan, Bonis, Busoni, Janáček, Martinů and Villa-Lobos to Helmut Lachenmann and a world premiere, Bryce Dessner’s Song for Octave.
__________
Warner Classics
► Website: http://www.warnerclassics.com
Subscribe to our:
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Warner Classics is the home of classical music, featuring iconic high audio quality recordings from the greatest classical legends, opera stars and orchestras of the last century.
Discover our unique collection of live performances, studio sessions and films featuring Maria Callas, Jacqueline du Pré, Nigel Kennedy, Mstislav Rostropovich, Yehudi Menuhin, Itzhak Perlman, Herbert von Karajan, Berliner Philharmoniker and more.
Along with its sister label Erato, Warner Classics continues this tradition with today's most in-demand classical artists, such as Philippe Jaroussky, Joyce DiDonato, Diana Damrau, Emmanuel Pahud, Alexandre Tharaud, Sir Antonio Pappano, Christina Pluhar and Renaud Capuçon.
Enjoy this ever-expanding library of official performance videos and exclusive interviews from the classical greats. Check back regularly for more music from your favourite composers including Bach, Mozart, Chopin, Debussy, Satie, Beethoven, Vivaldi, Handel and more.
#ClassicalMusic #Chopin
4:45
Irene Veneziano – Berceuse in D flat major Op. 57 (third stage, 2010)
Irene Veneziano
III etap
Berceuse Des-dur op. 57
Irene Veneziano
Third stage
Berceuse ...
published: 06 May 2016
Irene Veneziano – Berceuse in D flat major Op. 57 (third stage, 2010)
Irene Veneziano – Berceuse in D flat major Op. 57 (third stage, 2010)
- Report rights infringement
- published: 06 May 2016
- views: 31266
Irene Veneziano
III etap
Berceuse Des-dur op. 57
Irene Veneziano
Third stage
Berceuse in D flat major Op. 57
All rights reserved 2010
The Fryderyk Chopin Institute (NIFC), Polish Television (TVP), National Audiovisual Institute (NInA)
Berceuse
A berceuse is "a musical composition usually in 6/8 time that resembles a lullaby". Otherwise it is typically in triple meter. Tonally most berceuses are simple, often merely alternating tonic and dominant harmonies; since the intended effect is to put a baby to sleep, wild chromaticism would be somewhat out of character. Another characteristic of the berceuse, for no reason other than convention, is a tendency to stay on the "flat side"; noted examples including the berceuses by Chopin, who pioneered the form,Liszt, and Balakirev, which are all in D♭.
Music
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Berceuse
Chopin Berceuse Op 57 D Flat Major...
Chopin: Berceuse in D-flat major, Op.57 (Michelang...
Frédéric Chopin - Berceuse in D flat Major, Op. 57...
Chopin: Berceuse in D-Flat Major, Op. 57...
Arthur Rubinstein - Chopin Berceuse, Op 57...
Michelangeli plays Chopin Berceuse Op. 57 D Flat M...
Jayson Gillham – Berceuse in D flat major, Op. 57 ...
Tiffany Poon - Chopin Berceuse Op.57...
Bertrand Chamayou plays Chopin: Berceuse in D-Flat...