Étude Op. 10, No. 7, in C major, is a solo piano technical study composed by Frédéric Chopin around 1830 - 1832 and published in 1833. The tempo Vivace indicates a lively playing speed. In order to be melodically pleasing, Étude Op. 10, No. 7 demands a special technique, as the interpretation of its, Instrumental, Classical, Classical Piano
Étude Op. 10, No. 12 in C minor, known as the Revolutionary Étude or the Étude on the Bombardment of Warsaw, is a solo piano work by Frédéric Chopin written circa 1831, and the last in his first set, Etudes Op.10, dedicated to his friend Franz Liszt. Unlike études of prior periods (works designed to, Instrumental, Classical, Classical Piano
Étude Op. 25, No. 12 in C minor is the last of Frédéric Chopin's formal studies for the piano, opus 25. It was first published in 1837 in French, German, and English. The piece brings a plenitude of piano sound and an irresistible impression of elements that are all but uncontrollable. The dynamics, Instrumental, Classical, Classical Piano
Étude Op. 25, No. 7 in C-sharp minor is a solo piano technical study composed by Frédéric Chopin in 1834. Markedly different from Chopin's overall scheme of technical virtuosity, this étude focuses instead on perfect sound and phrasing, particularly for the left hand. It is essentially a nocturne,, Instrumental, Classical, Classical Piano
Etude Op. 10, No. 3, in E major, is a study for solo piano composed by Frédéric Chopin in 1832. It was first published in 1833 in France, Germany, and England as the third piece of his Études Op. 10. The Etude (Lento ma non troppo) is a nostalgic song, broken off by a moment of extreme agitation. It, Instrumental, Classical, Classical Piano
Étude Op. 10, No. 11, in E-flat major, is a technical study composed by Frédéric Chopin. It is sometimes given the tiles Arpeggio-Study, and Guitar-Study. The chief difficulty addressed in this piece is the performance of extended arpeggiated chords. Throughout, the hands are required to stretch, Instrumental, Classical, Classical Piano
Étude Op. 10, No. 6, in E-flat minor, is a study for solo piano composed by Frédéric Chopin in 1830. It was first published in 1833 as the sixth piece of his Études Op. 10. This étude focuses on expressiveness and chromatic structuring of the melody as well as polyphonic texture. The piece has the, Instrumental, Classical, Classical Piano
Étude Op. 10, No. 8 in F major is a technical study composed by Frédéric Chopin. It has been nicknamed the "Sunshine" étude. This work is concerned with counterpoint. The principal melody is in the left hand, the secondary being embedded in the arpeggios of the right hand. The main difficulty is, Instrumental, Classical, Classical Piano
The Etude in F minor, Op. 25, No. 2, is colored in subtle, pastel shades, but it is also splendidly disturbed, as two different meters – alla breve (expressed through quaver triplets) and 6/4 – meet in each bar. The two meters are wonderfully attuned, though their disturbance remains audible. As if, Instrumental, Classical, Classical Piano
Étude Op. 10, No. 5, in G-flat major, is a study for solo piano composed by Frédéric Chopin in 1830. It was first published in 1833 in France, Germany, and England as the fifth piece of his Études Op. 10. The so-called "Black Key Etude" is one of the most popular. It presents a cascade of ‘pearly’,, Instrumental, Classical, Classical Piano
The Etude in G-sharp minor, Op. 25, No. 6, the sixth in line, is known as the ‘Thirds’ Etude. The right-hand part runs in thirds with unerring consistency. It might also be called a ‘chromatic’ etude: its most prominent feature is the tone coloring, and it is through timbres that it affects the, Instrumental, Classical, Classical Piano
The Fantasy in F minor, Op. 49 was completed and published in 1841. It is one of the pinnacles of Frédéric Chopin's creative art. Generally regarded as a masterpiece, it has received a number of brilliant pianistic interpretations. It is a work that has fascinated successive generations of listeners, Instrumental, Classical, Classical Piano
The principal theme of Frédéric Chopin's Grande Polonaise Brilliante in E-flat major, Op. 22 combines soaring flight with spirit and verve, bravura with elegance – all of those features that characterize a dance in the style brillant. As befits a composition in the brillant style, the work is, Instrumental, Classical, Classical Piano
The Impromptu No. 3 in G-flat major, Op. 51 was composed in 1842 and published in 1843. It carries within it something of the atmosphere of Frédéric Chopin’s salon – an exceptional salon, not conventional and snobbish, but as poetic as it is elegant, transporting its denizens into another dimension. Instrumental, Classical, Classical Piano
Frédéric Chopin’s Largo in E flat major, Op. posth. has the the melody of the song “God, Thou who Poland” that Chopin played at church during his final year at the Warsaw Lyceum. The anthem-like melody is calm, yet stately, prideful, and elevated. Instrumental, Classical, Classical Piano
The B flat major Mazurka has the form of a rondo. The refrain, of unconventional design, thrusts its way upwards, swinging and swaggering, before falling back down in a delicate scherzando. The Mazurka is one of the few that could be danced; indeed, it seems to pull the listener up onto the, Instrumental, Classical, Classical Piano
The Mazurka in B minor is one of Chopin’s great wonders. In it, one hears a synthesis of the heard and remembered with the personally experienced and profoundly true. Lyrical contemplation and dialogue, eruptions of passion, rocking and calming. Instrumental, Classical, Classical Piano
The Mazurka in C sharp minor delights the listener with its songfulness. It was written in the style of new simplicity and in expression of a melancholy tone. Instrumental, Classical, Classical Piano
The F sharp minor became one of Chopin’s best loved mazurkas. It consists of three dance themes. The first of them dominates the whole of this lyrical-dance miniature with a character of a rhythmically capricious and melodically refined folk tune. Instrumental, Classical, Classical Piano
Frédéric Chopin’s Nocturne in B major, Op. 32, No. 1, dedicated to Madame Camile de Billing, was published by the composer in 1837. It is initially marked andante sostenuto, then transitions to adagio. The piece is more aptly described as a ballade in miniature. Instrumental, Classical, Classical Piano
Frédéric Chopin's Nocturne in B-flat minor, Op. 9, No. 1 has a rhythmic freedom that came to characterize Chopin's later work. The left hand has an unbroken sequence of simple arpeggios throughout the entire piece, while the right hand moves with freedom in patterns of seven, eleven, twenty, and, Instrumental, Classical, Classical Piano
Frédéric Chopin’s Nocturne in D-flat major, Op. 27, No. 2 consists of two strophes, repeated in increasingly complex variations. The main cadence, near the end of the piece, is one of the most glorious moments in Chopin's entire output. The duality of voices is reminiscent of the sweet summer of two, Instrumental, Classical, Classical Piano
Nocturne in E major, Op.62, No.2 is one of Frédéric Chopin's last works. The melody proceeds slowly and with stifled voice. The strength of emotion is articulated by the expression of the melody which complements the initial idea. It explodes, shattering the melody's calm passage with sudden leaps, Instrumental, Classical, Classical Piano
Frédéric Chopin’s Nocturne in E minor, Op. 72, No. 1 is a soulful and spirited expression of a melancholy state of mind with a prophetic sense of a mysterious world to come. Instrumental, Classical, Classical Piano
Frédéric Chopin composed his most popular Nocturne in E-flat major, Op. 9, No. 2 when he was about twenty. The nocturne is reflective in mood until it suddenly becomes passionate near the end. The new concluding melody begins softly but then ascends to a high register and is played forcefully in, Instrumental, Classical, Classical Piano
In his Nocturne in F major, Op. 15, No. 1, Frédéric Chopin juxtaposed an idyll of sounds, bright, delicate and pleasant, illumined by the sun, with a tempest that erupts suddenly with violence and brute force. The tempest then suddenly disappears, giving way to the returning music of the opening. Instrumental, Classical, Classical Piano
Composed in 1832, Frédéric Chopin’s Nocturne in F-sharp major, Op. 15, No. 2 is a technically challenging piece. The first section, Larghetto, features an intricate, elaborately ornamental melody over an even quaver bass. The second section, labeled doppio movimento (double speed), resembles a, Instrumental, Classical, Classical Piano
The first part of Frédéric Chopin’s Nocturne in G minor, Op. 15, No. 3, has a peculiar atmosphere – fantastic, mystical, surreal, turning in the second part of the Nocturne into a chorale, played sotto voce, as if under one’s breath, in a quietude that evokes the mood of religious contemplation. Instrumental, Classical, Classical Piano
Frédéric Chopin’s Nocturne in G minor, Op. 37, No. 1 is one of the simpler nocturnes with a more ornamental melodic line. A church-like atmosphere in the chords of the middle section potentially allude to religion. The chorale-like music may have represented Chopin's faith in the consoling power of, Instrumental, Classical, Classical Piano
Tradition has it that Chopin imagined the A major Polonaise functioning as a coronation polonaise. It bears the character of heroic military music, evoking for many interpreters the sounds of a snare drum in a festive parade or a royal ceremony. Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
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