Nói về Piano, Tác giả_ Tác Phẩm và những bản nhạc nổi tiếng...

3 chương thôi chứ
http://www.sheetmusicarchive.net/compositions_b/btsn27_2.pdf
Beethoven Sonate no. 14 cho piano , 3 chương.

EBDBDBD - "That's all, folks" ​

Hì hì moonligth là tác phẩm kinh điển mà,không thích mới là chuyện lạ.Mình có nghe Acome amuor của RC chuyển soạn dành cho guitar nghe cũng hay lắm nhỉ!Hihi
4 Chương của moonlight mà bác muốn tìm tất phải tìm quyển gì đó em quên mất tên rùi.Nó dày độ 400 trang nói về cuộc đời và các tác phẩm kinh điển của Beet nhưng không phải của VN.Em nhớ không nhầm thì nó được in bằng tiếng Ý.Hihi em có được cầm nó một lần nhưng xem mỗi phần bác em dịch về bản moonlight.Sách đấy hình như in vào năm năm 53 gì đấy hì hì cũ lắm!Em chả biết bác em còn không!Hay để hom nào em hỏi bác em xem bác còn giữ không nhé.Nếu còn em sẽ sao cho mỗi người một bản!Mà cũng chả nhớ có phải 4 chương hay không nữa!(Các bác thông cảm em không biết tiếng Ý,bác em lại nghiên cứu tiếng Ý chứ không nghiên cứu âm nhạc cổ điển)
Hơ hơ Em ủng hộ ý kiến của Veille hôm nào gặp nhau cái nhỉ.Em có biết một cái quán trinh diễn Piano đấy.hình như ở chỗ Thành Công thì phải!


truong quynh

Hì hì moonligth là tác phẩm kinh điển mà,không thích mới là chuyện lạ.Mình có nghe Acome amuor của RC chuyển soạn dành cho guitar nghe cũng hay lắm nhỉ!Hihi
4 Chương của moonlight mà bác muốn tìm tất phải tìm quyển gì đó em quên mất tên rùi.Nó dày độ 400 trang nói về cuộc đời và các tác phẩm kinh điển của Beet nhưng không phải của VN.Em nhớ không nhầm thì nó được in bằng tiếng Ý.Hihi em có được cầm nó một lần nhưng xem mỗi phần bác em dịch về bản moonlight.Sách đấy hình như in vào năm năm 53 gì đấy hì hì cũ lắm!Em chả biết bác em còn không!Hay để hom nào em hỏi bác em xem bác còn giữ không nhé.Nếu còn em sẽ sao cho mỗi người một bản!Mà cũng chả nhớ có phải 4 chương hay không nữa!(Các bác thông cảm em không biết tiếng Ý,bác em lại nghiên cứu tiếng Ý chứ không nghiên cứu âm nhạc cổ điển)
Hơ hơ Em ủng hộ ý kiến của Veille hôm nào gặp nhau cái nhỉ.Em có biết một cái quán trinh diễn Piano đấy.hình như ở chỗ Thành Công thì phải!


truong quynh

Bản Moonlight Sonata gồm có 3 chương:
1. Adagio sostenuto (chậm, tình cảm)
2. Allegretto (nhanh)
3. Presto agitato (mạnh mẽ)
Bản "Moonlight Sonata" mà các bạn hay nói tới thực chất chỉ là chương 1 mà thôi. Chương 1 tình cảm, chậm rãi bao nhiêu thì chương 2 và 3 lại nhanh và mạnh mẽ như bão tố vậy!!!
Xin nói thêm 1 điều nữa là kết cấu các bản Sonata thời Beethoven sống đều gồm có 3 chương cả. Các bạn đừng tranh cãi 3 chương, 4 chương làm gì cho mệt...
Bạn truongquynh cho mình biết địa chỉ quán biểu diễn piano ở Thành Công đó cái. Mình ngay gần đó mà chẳng hay biết gì că.
aivoges
Được aivoges sửa chữa / chuyển vào 12:10 ngày 05/03/2003

Bản Moonlight Sonata gồm có 3 chương:
1. Adagio sostenuto (chậm, tình cảm)
2. Allegretto (nhanh)
3. Presto agitato (mạnh mẽ)
Bản "Moonlight Sonata" mà các bạn hay nói tới thực chất chỉ là chương 1 mà thôi. Chương 1 tình cảm, chậm rãi bao nhiêu thì chương 2 và 3 lại nhanh và mạnh mẽ như bão tố vậy!!!
Xin nói thêm 1 điều nữa là kết cấu các bản Sonata thời Beethoven sống đều gồm có 3 chương cả. Các bạn đừng tranh cãi 3 chương, 4 chương làm gì cho mệt...
Bạn truongquynh cho mình biết địa chỉ quán biểu diễn piano ở Thành Công đó cái. Mình ngay gần đó mà chẳng hay biết gì că.
aivoges
Được aivoges sửa chữa / chuyển vào 12:10 ngày 05/03/2003

Tiếng Anh tôi không biết nhiều lắm nên tôi không dịch được chỉ post bài này bằng tiếng Anh cho các ban tham khảo. Nếu ai có thì dịch sang tiếng Việt cho bà con dùm.
Fryderyk Chopin (1810 - 1849)
F.Chopin was born in 1810 at Zelazowa Wola, near Warsaw. His farther Nicolas Chopin was French, by birth but had moved to Polandto work finally as a respected teacher of Frech, and it was there that his only son, Fryderyk, passed his childhood. Th greater part of Chopin's professional career was to be spent in France, and particularly in Paris, where he established himself as a fashionable teacher and as a performer in the houses of the rich. His playing in the concert hall was of a style less likely to please than that of the more flamboyant Liszt or than the technical virtuosity of Kalkbrenner. It was in the more refined ambience of the fashionable salon thar his genius as a composer and as a performer with its intimacy, elegance and delicacy of nuance, found its place.
Paris was to provide Chopin with a substantial enough income as a teacher, and there was a ready market for his compositions, however reluctant he might be to commit them to paper.The country retreat of his mistress, the blue-stocking George Sand, at Nohant provided a change of air that was certainly healthier for him than that of Mallorca, where, in 1838, the couple spent a disastrous winter that intensified the weakness of Chopin's lungs, already affected by the tuberculosis from which he was to die.
In 1848 political disturbances in Paris made teaching impossible,and Chopin left the city for a tor of England and Scotland. By this time his health had deteriorated considerably. At the end of the year he returned to Paris, now too weak to play or to teach and dependent on the generosity of others for subsistence. He died there on 17th October, 1849.
The greater part of Chopin's music was written for his own instrument, the piano. At first it seemed that works for piano and orchestra would be a necessary part of his stock-in-trade, but the position he found for himself in Paris enabled him to write principally for the piano alone, in a characteristic idiom that derives some inspiration from contemporary Italian opera, much from the music of Poland, and still more from his own adventurous approach to harmony and his own sheer technical ability as a player.
The fisrt of Chopin's three piano sonatas was completed in 1828. A second sonata was written in 1839, including the Funeral March, the work of 1837, and the final sonata in 1844. The Sonata in B Flat Minor, Opus 35, starts with a brief introduction, followed by a more rapid accompanying figure, above which the excited first subject appears. In contrast is the slow second subject in D Flat Major. Chopin modifies tra***ional classical sonata form by omitting the first subject from the recapitulation of the movement, which begins, instead, with the major key second subject.
If the central development section of the first movement had been harmonically varied, the central section of the second movement, the trio, is simple in its harmony, a marked contrast to the agitated chromaticism of the Scherzo that frames it. Tranquillity returns with the solemnity of the Funeral March, which is followed by a rapid final movement which is daring in its use of a darting single-line melody, doubled at the octave, its only chord in its conclusion.
The Sonata in B Minor, Opus 58, was the only conposition that Chopin completed in 1844. Its first movement opens with a particularly decisive first subject, followed by a second with all the poetic nuance of a nocrurne. There is a central development of contrapuntal and harmonic complexity, before the return of the second subject in the finalrecapitulation.
The Scherzo, briefer than other movements in this form that Chopin greatly enlarged, is in E Flat, framing a serene trio in the key of B major. It is succeeded by a slow movement in which the ambiguous harmony of the great operatic singers of the day, and a rhapsodic middle section. There follows a final rondo movemenr of panache to provide a brilliant conclusion to the work.
Chopin completed his Barcarolle, Opus 60, in 1846, at time when his relationship with George Sand was drawing to an unhappy close. Nothing of this is reflected in music of gentle serenity, the outer sections of the work, in the key of F sharp major, set against a repeated rocking-pattern in contrast to the even more peaceful accompanying rhythms of the A major middle section.
The well known Fantaisie-Impromptu, Opus 66, was written in Paris a decade earlier, but not published until after Chopin's death. The work combines the elements of stormy brilliance with the calmer mood of a nocturne in its middle section, which provides the melodic material of the delicately poetic conclusion.
It seems probable that the inspiration for the Berceuse, Opus 57, might have come to Chopin because of the presence of the baby daughter of the singer Pauline Viardot at George Sand's country house at Nohant during the summer of 1843. He was much taken with the child, who had learned to say his name, "petit Chopin". The months spent at Noant were relatively tranquil, interrupted, perhaps to the composer's relief, by the visit of the painter Delacroix and by the later arrival of the Viardots. During the year Chopin wrote little, apart from a group of three Mazurkas and the Berceuse, a work of tender simplicity, with no hint of the tension that was creeping into his relationship with George Sand or of the deterioratingstate of his health.

Tiếng Anh tôi không biết nhiều lắm nên tôi không dịch được chỉ post bài này bằng tiếng Anh cho các ban tham khảo. Nếu ai có thì dịch sang tiếng Việt cho bà con dùm.
Fryderyk Chopin (1810 - 1849)
F.Chopin was born in 1810 at Zelazowa Wola, near Warsaw. His farther Nicolas Chopin was French, by birth but had moved to Polandto work finally as a respected teacher of Frech, and it was there that his only son, Fryderyk, passed his childhood. Th greater part of Chopin's professional career was to be spent in France, and particularly in Paris, where he established himself as a fashionable teacher and as a performer in the houses of the rich. His playing in the concert hall was of a style less likely to please than that of the more flamboyant Liszt or than the technical virtuosity of Kalkbrenner. It was in the more refined ambience of the fashionable salon thar his genius as a composer and as a performer with its intimacy, elegance and delicacy of nuance, found its place.
Paris was to provide Chopin with a substantial enough income as a teacher, and there was a ready market for his compositions, however reluctant he might be to commit them to paper.The country retreat of his mistress, the blue-stocking George Sand, at Nohant provided a change of air that was certainly healthier for him than that of Mallorca, where, in 1838, the couple spent a disastrous winter that intensified the weakness of Chopin's lungs, already affected by the tuberculosis from which he was to die.
In 1848 political disturbances in Paris made teaching impossible,and Chopin left the city for a tor of England and Scotland. By this time his health had deteriorated considerably. At the end of the year he returned to Paris, now too weak to play or to teach and dependent on the generosity of others for subsistence. He died there on 17th October, 1849.
The greater part of Chopin's music was written for his own instrument, the piano. At first it seemed that works for piano and orchestra would be a necessary part of his stock-in-trade, but the position he found for himself in Paris enabled him to write principally for the piano alone, in a characteristic idiom that derives some inspiration from contemporary Italian opera, much from the music of Poland, and still more from his own adventurous approach to harmony and his own sheer technical ability as a player.
The fisrt of Chopin's three piano sonatas was completed in 1828. A second sonata was written in 1839, including the Funeral March, the work of 1837, and the final sonata in 1844. The Sonata in B Flat Minor, Opus 35, starts with a brief introduction, followed by a more rapid accompanying figure, above which the excited first subject appears. In contrast is the slow second subject in D Flat Major. Chopin modifies tra***ional classical sonata form by omitting the first subject from the recapitulation of the movement, which begins, instead, with the major key second subject.
If the central development section of the first movement had been harmonically varied, the central section of the second movement, the trio, is simple in its harmony, a marked contrast to the agitated chromaticism of the Scherzo that frames it. Tranquillity returns with the solemnity of the Funeral March, which is followed by a rapid final movement which is daring in its use of a darting single-line melody, doubled at the octave, its only chord in its conclusion.
The Sonata in B Minor, Opus 58, was the only conposition that Chopin completed in 1844. Its first movement opens with a particularly decisive first subject, followed by a second with all the poetic nuance of a nocrurne. There is a central development of contrapuntal and harmonic complexity, before the return of the second subject in the finalrecapitulation.
The Scherzo, briefer than other movements in this form that Chopin greatly enlarged, is in E Flat, framing a serene trio in the key of B major. It is succeeded by a slow movement in which the ambiguous harmony of the great operatic singers of the day, and a rhapsodic middle section. There follows a final rondo movemenr of panache to provide a brilliant conclusion to the work.
Chopin completed his Barcarolle, Opus 60, in 1846, at time when his relationship with George Sand was drawing to an unhappy close. Nothing of this is reflected in music of gentle serenity, the outer sections of the work, in the key of F sharp major, set against a repeated rocking-pattern in contrast to the even more peaceful accompanying rhythms of the A major middle section.
The well known Fantaisie-Impromptu, Opus 66, was written in Paris a decade earlier, but not published until after Chopin's death. The work combines the elements of stormy brilliance with the calmer mood of a nocturne in its middle section, which provides the melodic material of the delicately poetic conclusion.
It seems probable that the inspiration for the Berceuse, Opus 57, might have come to Chopin because of the presence of the baby daughter of the singer Pauline Viardot at George Sand's country house at Nohant during the summer of 1843. He was much taken with the child, who had learned to say his name, "petit Chopin". The months spent at Noant were relatively tranquil, interrupted, perhaps to the composer's relief, by the visit of the painter Delacroix and by the later arrival of the Viardots. During the year Chopin wrote little, apart from a group of three Mazurkas and the Berceuse, a work of tender simplicity, with no hint of the tension that was creeping into his relationship with George Sand or of the deterioratingstate of his health.

Chúng ta đều là những người thích nghe Piano, càng nghe càng thích, nhưng trong số chúng ta khônng phải ai cũng hiểu nhưng cững chắc chắn rằng ai cũng muốn hiểu. Để được thích thú hơn khi nghe Piano, có lẽ chúng ta hãy đưa ra 1 bản nhạc và những người quan tâm hãy nói lên cảm xúc của mình, những hiểu biết của mình về bản nhạc đó. Rất mong các bạn hưởng ứng. Tôi xin đề cử bản đầu tiên ROMANCE D`AMOUR
Mong các bạn hưởng ứng.
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20 tuổi hồn quay trong bão tố
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Chúng ta đều là những người thích nghe Piano, càng nghe càng thích, nhưng trong số chúng ta khônng phải ai cũng hiểu nhưng cững chắc chắn rằng ai cũng muốn hiểu. Để được thích thú hơn khi nghe Piano, có lẽ chúng ta hãy đưa ra 1 bản nhạc và những người quan tâm hãy nói lên cảm xúc của mình, những hiểu biết của mình về bản nhạc đó. Rất mong các bạn hưởng ứng. Tôi xin đề cử bản đầu tiên ROMANCE D`AMOUR
Mong các bạn hưởng ứng.
size=10]
20 tuổi hồn quay trong bão tố
[/size=10]

Bài tiểu sử Chopin này đề nghị chuyển vào topic "tác giả tác phẩm" ở trên

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