Introduction et polonaise brillante, Op. 3 Frédéric Chopin, Arr. Leonard Rose
Chopin’s Introduction and Polonaise brillante in C Major originated in October 1829 during a week spent at the country estate of Prince Antoni Radziwilƚ, an avid cellist and composer. Chopin delighted in playing chamber music with the Prince and his family and in giving piano lessons to his two daughters. He was especially taken with Princess Wanda, and it was for her and her father that he composed this polonaise or “‘Alla Polacca’ with cello accompaniment.” Writing to a friend, Chopin dismissed his new composition as “nothing more than a brilliant drawing-room piece suitable for the ladies.”Judging from the level of difficulty in their respective parts, Princess Wanda’s technical facility was superior to her father’s. The piano part, although primarily accompaniment for the lyrical, expressive melodies given to the cello, typifies Chopin’s brilliant, post-Classical style and completely dominates the texture with highly virtuosic passage work and ornamented repetitions of thematic material. Today’s performance uses Leonard Rose’s arrangement, which has become standard. Notes attributed to the Edmonton Chamber Music Society Archive
Classical Music | Cello Music
Frédéric Chopin
Introduction et polonaise brillante, Op. 3
PlayRecorded on 10/28/2015, uploaded on 06/07/2016
Musician's or Publisher's Notes
Introduction et polonaise brillante, Op. 3 Frédéric Chopin, Arr. Leonard Rose
Chopin’s Introduction and Polonaise brillante in C Major originated in October 1829 during a week spent at the country estate of Prince Antoni Radziwilƚ, an avid cellist and composer. Chopin delighted in playing chamber music with the Prince and his family and in giving piano lessons to his two daughters. He was especially taken with Princess Wanda, and it was for her and her father that he composed this polonaise or “‘Alla Polacca’ with cello accompaniment.” Writing to a friend, Chopin dismissed his new composition as “nothing more than a brilliant drawing-room piece suitable for the ladies.” Judging from the level of difficulty in their respective parts, Princess Wanda’s technical facility was superior to her father’s. The piano part, although primarily accompaniment for the lyrical, expressive melodies given to the cello, typifies Chopin’s brilliant, post-Classical style and completely dominates the texture with highly virtuosic passage work and ornamented repetitions of thematic material. Today’s performance uses Leonard Rose’s arrangement, which has become standard. Notes attributed to the Edmonton Chamber Music Society Archive
More music by Frédéric Chopin
Ballade N° 3
Mazurka Op 67 N° 4
Mazurka Op. 33 No. 1 in g-sharp minor
Mazurka Op 63 N° 2
Nocturne in D-flat Major, Op. 27, No. 2
Prelude in F major, Op. 28, No. 23, Moderato
Waltz Op 34 N° 2
Fantasy, Op. 49
Fantaisie-Impromptu in C-sharp Minor, Op. 66
Impromptu no. 3 in G-flat major, op. 51
Performances by same musician(s)
String Quartet No. 1, Sz. 40
Suite Italienne for Cello and Piano
String Trio in E-flat Major, Op. 3
Piano Quartet in E-Flat Major, Op. 87
Capriccio for Cello and Piano
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