Mosida Dedicated to Cristina Maristany. Lento e marcial Sofrimento 4. Voice, 2 flutes, 2 oboes, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 4 trombones, tuba, timpani, chocalho, tambor, bass drum, reco reco, harp, strings. Dedicated to Maria Emma.
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The original magical waltz by Chopin? A firm favorite. There are three mansucripts and three different published versions of Op.
Chopin was known to make changes when preparing a publication in a different country. It shimmers with the gaiety of elegant society. It was written — ostensibly — in a form consisting of a succession of dance themes — now alike, now incongruous. In essence, however, it is an integral whole, in which one theme passes imperceptibly into another, ends, then returns, building up the drama in grand style.
The way is led by the opening theme in E flat major, consolidating the rotary waltz step in a distinctive manner bars 5— It is followed by a little theme in A flat major, lively and scherzotic, which acts as a vignette bars 22— The theme in D flat major brings our first breather, a switch from rotary to rocking movement, from leaping to singing bars 70— It also has its lively opposite bars 86— A new singing theme appears, taking the dance to ecstatic raptures bars — Its complement is in the purest brillant style: the lively melody is bejewelled with acciaccature bars — Just before the end, we hear a fluent, undulating theme in B flat minor , shrouded in sentimental mist bars — The introduction to the E flat major Waltz, barely four bars long and exceedingly simple, was brought in to set the rhythm; it did not portend such an impressively elaborate finale, which is at once also the stretta of the themes presented earlier bars — The edition, most aptly, carries the title Grande Valse Brillante.
It is not a pretty picture, not a charming, elegant, salon romance. It is the fury and frenzy of a jilted lover Would Chopin approve?
Probably not In the song it is the woman who asks the question of her lover, "do you remember me? In any version, the anger, nay, rage of the abandoned man is palpable. But when you listen to Demarczyk, you do not think of the meaning of the words at all.
It all becomes a frenzy of dancing, an amazing whirlwind of sound and movement. The music by Konieczny, the passionate, intense interpretation by Demarczyk - yes, to this Chopin would have said yes, even though this piece has no trace of his music.
Yet, there is sorrow, there is passion, there is love
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