Polonaise Brillante in C major Op.3 for Cello and Piano Frédéric Chopin
The
Polonaise Brillante for piano and cello,
Op. 3 was composed in 1829 during Chopin's visit to the Polish Prince
Radziwill, when the composer was a mere 19 years of age. In the following year,
he added an introduction and dedicated the whole work to the celebrated cellist
and composer, Joseph Merk. In a letter he wrote from Vienna to his family in
1831, Chopin relates that he had accompanied Merk at the piano during an
evening at the home of Aloïs Fuchs, an art collector and amateur cellist.
Chopin's generous lyricism is obvious from the very first measures of the
Introduction (Lento). The cello's song-like theme is immediately
taken up by the piano in a subtle paraphrase which binds the two instruments
together from that point. After this gentle exposition, the music becomes more
intense and a section full of fury ensues, featuring great leaps at the cello
and repeated chords at the piano. In the Polonaise
(Allegro con spirito) that follows,
the irresistible and highly characterized movement of the dance is first heard
in the piano part. Through a section of
sustained and ebullient rhythm, both melody and accompaniment are exchanged
from one instrument to the other throughout the work. (Notes
by Marc Hyland)
Classical Music | Cello Music
Frédéric Chopin
Polonaise Brillante in C major Op.3 for Cello and Piano
PlayRecorded on 12/12/2006, uploaded on 01/19/2009
Musician's or Publisher's Notes
Polonaise Brillante in C major Op.3 for Cello and Piano Frédéric Chopin
The Polonaise Brillante for piano and cello, Op. 3 was composed in 1829 during Chopin's visit to the Polish Prince Radziwill, when the composer was a mere 19 years of age. In the following year, he added an introduction and dedicated the whole work to the celebrated cellist and composer, Joseph Merk. In a letter he wrote from Vienna to his family in 1831, Chopin relates that he had accompanied Merk at the piano during an evening at the home of Aloïs Fuchs, an art collector and amateur cellist. Chopin's generous lyricism is obvious from the very first measures of the Introduction (Lento). The cello's song-like theme is immediately taken up by the piano in a subtle paraphrase which binds the two instruments together from that point. After this gentle exposition, the music becomes more intense and a section full of fury ensues, featuring great leaps at the cello and repeated chords at the piano. In the Polonaise (Allegro con spirito) that follows, the irresistible and highly characterized movement of the dance is first heard in the piano part. Through a section of sustained and ebullient rhythm, both melody and accompaniment are exchanged from one instrument to the other throughout the work. (Notes by Marc Hyland)
More music by Frédéric Chopin
Mazurka Op. 33 No. 1 in g-sharp minor
Nocturne in D-flat Major, Op. 27, No. 2
Prelude in F major, Op. 28, No. 23, Moderato
Waltz Op 34 N° 2
Mazurka Op 67 N° 4
Fantaisie-Impromptu in C-sharp Minor, Op. 66
Impromptu no. 3 in G-flat major, op. 51
Barcarolle in F-sharp Major, Op. 60
Mazurka Op 63 N° 2
Fantasy, Op. 49
Performances by same musician(s)
Tango Etudes No. 3 & 4
Songs Without Words in D Major, Op. 109
Le Grand Tango for Cello and Piano
Omaramor
12 Variations on a theme from Mozart's "The Magic Flute"
Pohadka (Fairy Tale)
Requiebros in D Major
Adagio and Allegro, Op. 70
Suite Populaire Espagnole
Fantasy Pieces Op. 73
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