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http://ch.yes24.com/Article/View/21288
‘캐릭터 피스’(Character Piece)라는 말을 아시나요? 우리말로 바꾸자면 ‘성격적 소품’이라고 할 수 있습니다. 낭만의 시대인 19세기에 접어들면서 자유로운 감정의 표현이 피아노 음악의 중요한 화두로 등장하는데, 그것을 가장 잘 드러내고 있는 장르가 바로 ‘캐릭터 피스’라고 할 수 있지요. 소나타와 변주곡 등 고전적 형식에서 벗어난 자유로운 피아노 소품들을 일컫습니다. 아름다운 시적 영감이 두드러질 뿐 아니라, A-B-A의 단순한 3부 형식, 또 선율과 화성이 매우 강조돼 있어서 듣는 이의 입장에서 보자면 쉽고 편안하게 감상할 수 있는 음악에 속합니다.
시대적으로 보자면, 몇 가지 객관적 조건이 캐릭터 피스의 출현을 불러 일으켰습니다. 하나는 ‘피아노’라는 악기의 개량과 발전이겠지요. 과거에 비해 연주하기가 보다 쉬워졌고 음량도 더욱 커졌습니다. 또 하나는 경제적으로 여유 있는 신흥 부르주아지의 성장입니다. 새로운 사회의 중심세력으로 떠오른 부르주아지 중에서 이른바 ‘부자’들이 속속 등장합니다. 그들이 집안에 피아노를 들여놓기 시작하지요. 귀족의 전유물이다시피 했던 음악을 자신들의 교양으로 만드는 것은 신흥 부르주아지들에게 매우 중요한 문화적 목표였습니다. 거기에 또 하나의 조건이 따라붙습니다. 바로 악보 출판의 활성화였습니다. 이런 사회적 조건들이 무르익으면서 음악은 좀더 대중적인 지평을 얻게 됩니다. 넉넉한 집안의 부인이나 딸들은 집안에 독선생(獨先生)을 불러들여 레슨을 받으면서 피아노를 직접 연주하기 시작합니다. 그렇게 아마추어 피아니스트들이 급격히 늘기 시작합니다. 우리의 머릿속에 여전히 자리해 있는 ‘돈 많고 화목한 가정’의 이미지, 예쁘게 차려입은 딸이 피아노를 연주하고 부모가 그 옆에서 흐뭇하게 미소짓는 장면은 그렇게 19세기에 이미 등장했습니다.
그래서 당시의 작곡가들은 악보 출판과 아마추어 연주자들까지도 염두에 둔 짧고 쉬우면서도 아름다운 피아노곡을 많이 썼습니다. 이른바 살롱 문화의 등장도 캐릭터 피스의 유행을 더욱 부채질했겠지요. 한데 캐릭터 피스를 단지 사회적 수요에 의한 것으로만 규정한다면 단견이 될 수도 있습니다. 다시 말해 캐릭터 피스는 작곡가 본인에게도 ‘자유로운 음악’이었다는 점을 기억할 필요가 있습니다. 음악적 형식에서 마음 편하게 벗어날 수 있었다는 것은, 작곡가들에게도 자신의 기질이나 감성을 음악 속에 좀더 투영하게 해줬습니다. 그래서 캐릭터 피스는 거대한 규모의 다른 장르들, 이를테면 낭만주의 시대의 교향곡이나 오페라 같은 장르에 비해 작곡가 개인의 내밀한 심성을 더욱 드러내는 측면이 있습니다.
어떤 작곡가들은 가곡에 제목을 붙이는 것처럼 캐릭터 피스에도 ‘표제’를 달았습니다. 누가 그랬을까요? 멘델스존의 ‘봄노래’, 슈만의 ‘어린이정경’과 ‘트로이메라이’, 리스트의 ‘에스테장의 분수’ 등등 헤아리기조차 힘들 만큼 많습니다. 차이코프스키도 ‘사계’라는 표제를 붙여 일년 열 두달의 정경을 묘사하는 12곡의 캐릭터 피스를 썼습니다. 그런데 표제를 달았다는 것은 작곡의 전제나 목표가 있었다는 뜻으로도 해석할 수 있습니다. 말하자면 어떤 특정한 주제나 소재를 전제했을 가능성이 크다는 얘기입니다.
마리아 보딘스카, 쇼팽, Frédéric François Chopin at 25, by his fiancée Maria Wodzińska, 1835
Yundi Li - Chopin Nocturne No. 2 (Op. 9)
[동영상] https://www.youtube.com/watch?v=EP8MW6WE9R4
A brilliant interpretation of the Chopin's 2nd Nocturne by the famous pianist Yundi Li.
글/문학수
쇼팽, 4개의 발라드(Ballades) (0) | 2013.02.22 |
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슈베르트, 겨울 나그네(Winterreise) D.911 (0) | 2013.02.18 |
쇼팽, ‘녹턴’(Nocturn, 야상곡) (0) | 2013.02.18 |
베토벤, 교향곡 6번 F장조 op.68 ‘전원’ (0) | 2013.02.18 |
베토벤, 교향곡 5번 c단조 op.67 (0) | 2013.02.05 |
하이든, 현악4중주 제77번 C장조 op.76-3 ‘황제’ (0) | 2013.02.01 |
Posted by 문학수
출처: http://isachimo.khan.kr/111?category=450146
Rubinstein - Chopin Nocturne Op. 9 - 72
[음악감상] https://www.youtube.com/watch?v=KiWI5OIi17Y
Op. 9, No. 1 in B♭ minor - 00:00
Op. 9, No. 2 in E♭ major - 05:25
Op. 9, No. 3 in B major - 09:55
Op. 15, No. 1 in F major - 16:47
Op. 15, No. 2 in F# major - 21:11
Op. 15, No. 3 in G minor - 25:11
Op. 27, No. 1 in C♯ minor - 30:16
Op. 27, No. 2 in Db major - 35:59
Op. 32, No. 1 in B major - 42:19
Op. 32, No. 2 in Ab major - 47:06
Op. 37, No. 1 in G minor - 52:57
Op. 37, No. 2 in G major - 59:20
Op. 48, No. 1 in C minor - 1:06:16
Op. 48, No. 2 in F# minor - 1:12:11
Op. 55, No. 1 in F minor - 1:19:35
Op. 55, No. 2 in E♭ major - 1:25:17
Op. 62, No. 1 in B major - 1:31:07
Op. 62, No. 2 in E major - 1:38:02
Op. 72, No. 1 in E minor - 1:43:23
Arthur Rubinstein plays Chopin - Nocturnes
[음악감상] https://www.youtube.com/watch?v=LoTQF_Z_3lQ
Arthur Rubinstein (1887-1982), piano
00:00 Op. 9 No. 2
04:28 Op. 15 No. 2
08:25 Op. 27 No. 2
14:40 Op. 37 No. 1
21:05 Op. 37 No. 2
28:03 Op. 48 No. 1
33:57 Op. 48 No. 2
41:17 Op. 55 No. 1
46:58 Op. 55 No. 2
52:48 Op. 62 No. 1
59:40 Op. 62 No. 2
Chopin: 19 Nocturnes (Moravec)
[음악감상] https://www.youtube.com/watch?v=kHXxWfSAxik
게시일: 2017. 1. 28.
A capital-G Great Recording. Once in a very rare while one of these comes along that is so stubbornly & irreducibly beautiful that it's sort of hard to say anything sensible about it, which obviously leaves reviewers and aficionados with a bit of a problem. I don't think I really knew what legato playing was before I heard this recording, or what Chopin's long phrase marks were actually meant to mean *aurally*. There's too much to praise here: ultra-fine dynamic control, tempi neither fast or slow but always reverential, rubato as free as it is natural, the sheer glory of the tone as Moravec unfurls those long melodies. Even the relatively pedestrian opening of a nocturne like the 15.1 suddenly makes the breath catch. It's weird and deeply uplifting and makes you want to learn all the nocturnes but despair at actually doing it at the same time.
Everyone likes Chopin's nocturnes, but perhaps because they're so generous and immediate in what they offer the listener, their quality is often underestimated: they aren't (at first blush) difficult or weird in the way that we sometimes expect really great music to be. But the nocturnes aren't just excellent pieces: you could plonk them down beside both books of the Well-Tempered Klavier and they wouldn't be out of place. They still stand as one of the all-time big feats of lyrical composition in any genre and time period: all the melodies sound songlike while being (for the most part) unsingable. Right from the first nocturne you've given a 22-tuplet, and then fiorituri (structural ones, not just ornamental fluff) and colouristic novelties and hidden countermelodies and harmonic innovations will deluge you until you reach the last one.
Analysing just one nocturne is an exhausting affair, and I won't attempt an analysis of all 19 here. (Do check out Ohlsson's lecture on just one bit of the 27.2, though.) I guess I'll just make three very brief observations. First, the nocturnes closely track Chopin's stylistic maturation: he uses counterpoint more and more frequently as we approach the late nocturnes, culminating in 55.2, 62.1, and the middle (and very Bachian) section of 62.2. Second, there are in the nocturnes some sections that achieve a kind of late-Beethoven stillness: listen to some of the more minimalist middle sections that Chopin writes, for instance. And lastly: despite being relatively short pieces, some of these nocturnes cover a lot of musical ground in a very concentrated narrative-like structure, almost like ballades in miniature (see 15.3, which also has an interesting structure, 27.1, 62.1).
00:00 – Op.9 No.1 in Bb Min
05:37 – Op.9 No.2 in Eb Maj
10:03 – Op.9 No.3 in B Maj
16:28 – Op.15 No.1 in F Maj
20:55 – Op.15 No.2 in F# Maj
24:55 – Op.15 No.3 in G Min
29:31 – Op.27 No.1 in C# Min
34:47 – Op.27 No.2 in Db Maj
42:04 – Op.32 No.1 in B Maj
47:09 – Op.32 No.2 in Ab Maj
52:40 – Op.37 No.1 in G Min
58:57 – Op.37 No.2 in G Maj
1:04:37 – Op.48 No.1 in C Min
1:10:47 – Op.48 No.2 in F# Min
1:17:44 – Op.55 No.1 in F Min
1:22:40 – Op.55 No.2 in Eb Maj
1:26:54 – Op.62 No.1 in B Maj
1:33:59 – Op.62 No.2 in E Maj
1:39:30 – Op.72 No.1 (posth.)
Frédéric Chopin - The Nocturnes | Maria João Pires, live recital
[음악감상] https://www.youtube.com/watch?v=nux1u8YCJ9c
게시일: 2016. 3. 31.
Frédéric François Chopin - The Nocturnes | Maria João Pires, piano. Live Recital.
"Chopin is a poet. It’s very inner music and very deep. I don’t feel at all it’s for show. He had that in himself... Chopin is the deep poet of music. But he also invented this terrible thing called "Piano Recitals". That made me suffer all my life."
The Nocturnes | Chopin Night Music: "Of the tenderness, the charm, the awe and mystery which are to be found in the Nocturnes... Oh, those Nocturnes! Tones of infinite sadness! There is Music in them which fathoms the depths, which plunges us into the immensity; emotional force that rends our hearts; Horrible despair, bordering on the overwhelming immanence of death itsel; Divine ecstasy interrupted by a wail of sorrow, and again by a soft caress. And all is so sincere; the sincerity of one whose heart bleeds; whose soul is overflowing with tenderness!"
George Mathias, student of Chopin
Two Rare PIANO RECITALS with Maria João Pires playing CHOPIN's NOCTURNES:
00:00:00 I. Chopin's 200th Birthday. Legendary Late Night Prom in 2010 (The Proms).
Nocturne No.1 in B-flat minor, Op.9, No.1
Nocturne No.2 in E-flat major, Op.9, No.2
Nocturne No.3 in B major, Op.9, No.3
Nocturne No.4 in F major, Op.15, No.1
Nocturne No.5 in F-sharp major, Op.15, No.2
Nocturne No.6 in G minor, Op.15, No.3
Nocturne No.7 in C-sharp minor, Op.27, No.1
Nocturne No.8 in D-flat major, Op.27, No.2
Nocturne No.17 in B major, Op.62, No.1
Nocturne No.18 in E major, Op.62, No.2
Nocturne No.19 in E minor, Op.72, No.1
Nocturne No.20 in C-sharp minor, Op. posthume
(Encore) Nocturne No.11 in G minor, Op.37, No.1
Royal Albert Hall, London, 21.VII.2010.
01:08:13 II. Chopin Festival. Poland Recital in 2014.
Nocturne No.1 in B-flat minor, Op.9, No.1
Nocturne No.2 in E-flat major, Op.9, No.2
Nocturne No.3 in B major, Op.9, No.3
Nocturne No.7 in C-sharp minor, Op.27, No.1
Nocturne No.8 in D-flat major, Op.27, No.2
Nocturne No.14 in F-sharp minor, Op.48, No.2
Nocturne No.20 in C-sharp minor, Op. posthume
Warsaw Philharmonic Concert Hall, Warsaw, 29.VIII.2014.
"The Royal Albert Hall is a wonderful and inspiring place to be, but acoustically it can very strange. Loud sounds bounce around that vast space like balls on a pin-ball machine. Yet for quiet music it can be magical. The sounds go straight from source to ear, so they have a lovely miniaturised clarity like the distant figures in a Van Eyck painting. That unexpected intimacy accounts for some of the intensity of Maria Joao Pires’s recital of Chopin Nocturnes. But it would have counted for nothing without her special poetry. She’s a tiny, almost bird-like figure, and she seemed even smaller in that huge space, which was packed with more people than I’ve ever seen for a late-night Prom. It must be daunting for a pianist, but Pires seemed perfectly at ease, as if she was playing for a few friends at home. That gives her performances an air of total sincerity. [...] Pires wants to get at the poetic heart of the music, and here she did that time after time. The word Nocturne implies something dreamy and indistinct, but Pires’ performances reminded us that the expressive range of Chopin’s pieces is much bigger than that. There was the total rapt stillness of the early Bb minor Nocturne, uncannily clear, like a moonlit landscape. There was the fascinating uncertainty of the G major Nocturne Op. 15, which she poised so perfectly on the cusp between hesitancy and impetuous ardour. The late Nocturne in E major suddenly becomes stormy at its mid-point, but Pires managed to project this while suggesting it was only a momentary flurry – maybe only a dream – while the night-time stillness was still continuing, somewhere beyond our hearing. That is artistry of a very special order." The Telegraph 2010
"The evening turned out to be a special one for piano fans. The Portuguese pianist Maria João Pires made a rare appearance with a generous selection of Chopin's nocturnes as the late-night event. Received wisdom suggests the Albert Hall is too big for such music, but in this case the sonic unpredictability of the venue conspired with the pianist herself to refute it. Pires's playing was unostentatious but commanding, controlled yet free-flying in its sensitivity to the fluidity of Chopin's lines, and in its responsiveness to the scope of pieces still sometimes marked down as delicate miniatures." The Guardian 2010
MARIA JOÃO PIRES born in Lisbon on 23 July 1944 and played her first recital aged five. She studied composition and music theory at the Lisbon Conservatory, followed by further studies in Munich and Hanover, Germany. She made her London debut in 1986 at the Queen Elizabeth Hall.
From Portugal, with Love
Chopin - Complete Nocturnes (Brigitte Engerer)
[음악감상] https://www.youtube.com/watch?v=liTSRH4fix4
Serenity and dream...
1. 0:06 Op. 9, No. 1 in B flat minor. Larghetto
2. 5:53 Op. 9, No. 2 in E flat major. Andante
3. 10:29 Op. 9, No. 3 in B major. Allegretto
4. 17:09 Op. 15, No. 1 in F major. Andante cantabile
5. 22:07 Op. 15, No. 2 in F sharp major. Larghetto
6. 25:43 Op. 15, No. 3 in G minor. Lento
7. 30:53 Op. 27, No. 1 in C sharp minor. Larghetto
8. 36:32 Op. 27, No. 2 in D flat major. Lento sostenuto
9. 42:27 Op. 32, No. 1 in B major. Andante sostenuto
10. 47:27 Op. 32, No. 2 in A flat major. Lento
11. 53:01 Op. 37, No. 1 in G minor. Lento
12. 59:51 Op. 37, No. 2 in G major. Andante
13. 1:06:17 Op. 48, No. 1 in C minor. Lento
14. 1:12:25 Op. 48, No. 2 in F sharp minor. Andantino
15. 1:20:11 Op. 55, No. 1 in F minor. Andante
16. 1:25:36 Op. 55, No. 2 in E flat major. Lento sostenuto
17. 1:31:19 Op. 62, No. 1 in B major. Andante
18. 1:38:51 Op. 62, No. 2 in E major. Lento
19. 1:45:11 Op. 72, No. 1 in E minor. Andante
20. 1:49:19 Op. posth in C sharp minor. Lento con gran espressione
21. 1:53:18 Op. posth in C minor. Andante sostenuto
Chopin - The 21 Nocturnes (recording of the Century : Claudio Arrau)
[음악감상] https://www.youtube.com/watch?v=uUdoxvigIl8
Frédéric François Chopin (1810-1849) - Les 21 Nocturnes Op.9, 15, 27 ,32, 37, 48, 55, 62, 72 & Posth.
n°1 in B flat minor * b-moll * en si bémol, Op.9/1 (00:00)
n°2 in E flat * Es-dur * en Mi bémol, Op.9/2 (5:50)
n°3 in B * H-dur * en Si Op.9/3 (10:30)
n°4 in F * F-dur * en Fa, Op.15/1 (17:49)
n°5 in F sharp * Fis-dur * en Fa dièse, Op.15/2 (22:55)
n°6 in G minor * g-moll * en sol, Op. 15/3 (26:44)
n°7 in C sharp minor * cis-moll * en ut dièse, Op.27/1 (31:28)
n°8 in D flat * Des-dur * en Ré bémol, Op.27/2 (36:57)
n°9 in B * H-dur * en Si, Op.32/1 (43:18)
n°10 in A flat * As-dur * en La bémol, Op.32/2 (49:00)
n°11 in G minor * g-moll * en Sol, Op.37/1 (54:21)
n°12 in G * G-dur * en Sol, Op.37/2 (1:00:39)
n°13 in C minor * c-moll * en ut, Op.48/1 (1:08:45)
n°14 in F sharp minor * fis-moll * en fa dièse, Op. 48/2 (1:15:07)
n°15 in F minor * f-moll * en fa, Op. 55/1 (1:22:58)
n°16 in E flat * Es-dur * en Mi bémol, Op.55/2 (1:28:43)
n°17 in B * H-dur * en S, Op.62/1 (1:34:15)
n°18 in E * E-dur * en Min Op.62/2 (1:42:00)
n°19 in E minor * e-moll * en mi, OP.72/1 (1:49:15)
n°20 in C sharp minor * cis-moll * en ut dièse, Op.posth. (1:53:30)
n°21 in C minor * c-moll * en ut, Op.posth. (1:58:00)
Piano : Claudio Arrau
Stéréo recording in 1977-78
Label : Philips
CHOPIN - Nocturne Op.9 No2 (60 min) Piano Classical Music Concentration Studying Reading Background
CHOPIN - Nocturne No 2 in E Flat Major Op 9 No 2 (60 minutes)
Performer : Frank Levy
Soundtrack : -- The Eddy Duchin Story (1956)
-- 8¨
-- The Big Red One
-- Blue Lagoon
-- Crush
-- Man Trouble
-- Saturday Night Fever
-- Sleep With Me
-- Teacher's Pet
-- Waking Life
-- The Loss of Sexual Innocence
Li Yundi - Chopin Nocturnes
게시일: 2013. 6. 24.
An overview of what you're about to listen to can be found here: http://en.wikipedia.org/wiki/Nocturne...
The nocturnes are played in the order they were published. Enjoy!
00:00 B♭ minor Op. 9 No. 1
05:33 E♭ major Op. 9 No. 2
10:01 B major Op. 9 No. 3
16:21 F major Op. 15 No. 1
20:44 F♯ major Op. 15 No. 2
24:07 G minor Op. 15 No. 3
28:49 C♯ minor Op. 27 No. 1
33:24 D♭ major Op. 27 No. 2
38:25 B major Op. 32 No. 1
42:46 A♭ major Op. 32 No. 2
46:51 G minor Op. 37 No. 1
52:49 G major Op. 37 No. 2
58:45 C minor Op. 48 No. 1
01:04:02 F♯ minor Op. 48 No. 2
01:11:36 F minor Op. 55 No. 1
01:16:28 E♭ major Op. 55 No. 2
01:22:38 B major Op. 62 No. 1
01:28:34 E major Op. 62 No. 2
01:33:08 E minor Op. 72
01:37:45 C♯ minor P 1 No. 16
01:41:49 C minor P 2 No. 8
Li Yundi is the youngest pianist to win the International Frédéric Chopin Piano Competition, in 2000, at the age of 18. More information about him can be found here: http://en.wikipedia.org/wiki/Li_Yundi
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