Berceuse op. 57
for Piano
IVA incluido.,
Más gastos de envío
en stock
plazo de entrega 1-3 días laborables
Frédéric Chopin
Berceuse op. 57
for Piano
Frédéric Chopin
Berceuse op. 57
for Piano
- Compositor Frédéric Chopin
- Adaptador Hardy Rittner
- Editor Britta Schilling-Wang
-
Dificultad
- Editorial Bärenreiter Verlag
- Nº de pedido BA11830
en stock
plazo de entrega 1-3 días laborables
IVA incluido.,
Más gastos de envío
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Descripción de la:
Chopin's “Berceuse” is one of his most frequently performed works and was regarded by subsequent composers as the prototype of the instrumental lullaby. This piece that Chopin initially named “Variantes” was composed around the time of his great Sonata in B minor op. 58 and was renamed “Berceuse” only when it went to print. In it, the composer systematically subjects a four-measure motif to a series of variants which are linked in a continuous flow over an ostinato figure.
This Urtext edition reflects the latest state of Chopin research, offering a definitive musical text based on a careful evaluation of the sources. Readings and editorial decisions are documented in the Critical Commentary (Eng) and a detailed Foreword (Ger/Eng) provides information on the work. Hardy Rittner, a Chopin specialist as well as Professor of Piano at the Hochschule für Musik Freiburg, has supplemented the composer's fingering from a historically informed perspective. His chapter on performance practice contains valuable notes, particularly on Chopin's pedal indications which clearly diverge in the sources, on rubato, the execution of ornaments as well as on tonal nuance, voice-leading and cantabilità.
This Urtext edition reflects the latest state of Chopin research, offering a definitive musical text based on a careful evaluation of the sources. Readings and editorial decisions are documented in the Critical Commentary (Eng) and a detailed Foreword (Ger/Eng) provides information on the work. Hardy Rittner, a Chopin specialist as well as Professor of Piano at the Hochschule für Musik Freiburg, has supplemented the composer's fingering from a historically informed perspective. His chapter on performance practice contains valuable notes, particularly on Chopin's pedal indications which clearly diverge in the sources, on rubato, the execution of ornaments as well as on tonal nuance, voice-leading and cantabilità.