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In short, download the Second Ballade for sure, try the Fourth Ballade if you’re curious, and pass on the rest. 4 sounds earthbound and tired compared to the younger El Bacha’s suppler self. No question, however, that the new Scherzo No. While El Bacha admittedly fusses more over details this time, he somehow conveys a longer sense of line. Knowing El Bacha’s leisurely to the point of sedate Forlane Fourth Ballade, I feared for the new recording’s additional two minutes in timing. 3 cannot compare to the far more energetic and impassioned Forlane recording. El Bacha’s labored, unimaginative Scherzo No.
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3, and his ponderous remake also dies on the vine. I never liked El Bacha’s literal, stiffly phrased Forlane Ballade No. Furthermore, he does not barnstorm his way through the tumultuous A minor episodes, allowing the notes to speak and the cross-rhythmic phrases their due. Yet here, as before, I enjoy El Bacha’s lilting straightforwardness in the principal F major theme. Newfound expressive gestures add one minute to the Ballade No. 2’s second theme, to more fragmented effect. El Bacha now points up the left-hand accompaniment supporting the Scherzo No. 1 from taking wing in the manner of his fluid, albeit equally laid back Forlane traversal. Modulates to D flat major (relative major) in Bars 13-17, then returns abruptly to B flat minor in Bar 18, ending with an implied interrupted cadence (Bars 20-22, bass notes only). The pianist’s attention to inner lines and accents somehow prevents the new Scherzo No. SCHERZO (Bars 1-264): A: Bars 1-24: Theme 1, B flat minor. 1 coda that’s absent from this more emphatic remake. There’s a forward sweep to El Bacha’s earlier Ballade No. Perhaps Mirare’s close, full-bodied sonics fuel my observations, yet comparisons speak for themselves. His tendency to probe local details has intensified over time, usually at the expense of scintillation and dramatic continuity. El Bacha has now re-recorded the Scherzos and Ballades for Mirare. The cycle’s various volumes are hard to source on physical CD, but are intermittently available via download. But this time the question has been answered-not with scorn but with complete accord, and the two hurtle together towards the scherzo’s triumphant conclusion.From the late 1990s through the early 2000s Abdel Rahman El Bacha recorded Chopin’s complete solo piano music for the Forlane label. The coda is superbly written and conceived, for now the questioning phrase returns in an altered form followed by the answer. I am currently learning this work and have been for a long time unfortunately as I do not have enough time to spend on it as I would like: the one thing that stands out that is a big requirement in this work as part of overall. Here the music becomes increasingly agitated before reaching an impassioned climax and a return to the opening subject. Answer (1 of 3): I agree that this Scherzo is not easy (no Chopin is). And on another occasion: ‘It must be a charnel house.’ There follows one of Chopin’s most inspired lyrical themes (in D flat major, as is the majority of the scherzo) before a chorale-like central section. Wilhelm von Lenz, who studied the work with Chopin, reported that for the composer, ‘it was never questioning enough, never piano enough, never vaulted ( tombé) enough, never important enough’. The B flat minor scherzo, the most popular of the four, opens with a striking phrase which has been aptly cited as an instance of scorn in music: a timid question followed by a forceful put-down. The quartet of independent works he composed with this title between 18 has little to do with the earlier scherzos of Beethoven and Mendelssohn or with the derivation of the word ‘scherzo’ (meaning ‘joke’ or ‘jest’), although Chopin does preserve the A-B-A structure of the minuet and trio, the scherzo’s musical antecedent. The scherzo is another form extended and redefined by Chopin. The Scherzo No 2 in B flat minor, Op 31, was written and published in the same year as Chopin wrote the ‘Funeral March’ from his Piano Sonata No 2 in B flat minor, Op 35.