Tuesday, August 25, 2015

TUESDAY, AUGUST 25, 2015

QUOTE:
"There is at the top. There are
  always further heights to reach."
AUTHOR:  Jascha Heifetz
MEANING OF THE QUOTE:
"There is always a way to improve yourself."











COMPOSER:
FREDERIC CHOPIN
Subtitled "Sadness" or "Tristesse," possibly by
the publishers, because of the great beauty of
the melody (which Chopin reportedly had said he
would never write anything more beautiful), this
etude is primarily a melodic study. It involves a
lot of work on the independence of the
fingers, each hand playing two distinct voices.
ETUDE OP. 10
NO. 3 IN E MAJOR
"TRISTESSE"
Valdimir Horowitz, Piano
ETUDE OP. 10
NO. 3 IN E MAJOR
"TRISTESSE"
Ignace Jan Paderewski, Piano
ETUDE OP. 10
NO. 3 IN E MAJOR
"TRISTESSE"
Alfred Cortot, Piano
ETUDE OP. 10
NO. 3 IN E MAJOR
"TRISTESSE"
Maurizio Pollini, Piano

ETUDE OP. 10
NO. 3 IN E MAJOR
"TRISTESSE"
Valdimir Ashkenazy, Piano

ETUDE OP. 10
NO. 3 IN E MAJOR
"TRISTESSE"
Jan Lisiecki, Piano
ETUDE OP. 10
NO. 3 IN E MAJOR
"TRISTESSE"
Arrangement for Orchestra
Andre Kostelanetz, Conductor
Columbia Symphony Orchestra
This etude owes its popularity in
non-professional circles to the fact
that a text was written on its melody,
a century after Chopin's publication,
(and arranged by Alois Melichar
the conductor of the Berlin
Philharmonic Orchestra) called
 
ETUDE OP. 10
NO. 3 IN E MAJOR
"TRISTESSE"
"In Mir ein Lied Klingt"
By Ernst Marischka
The same year, Albert Valentin
wrote a text in French to
this same melody called
"My Heart is Dedicating Its Melody to You"
for a film about Chopin
7
entitled The Song of Farewell
("La Chanson de L'Adieu"),
co-directed by Géza von Bolváry.
This film was later made into a U.S.
This melody is taken over by Tino Rossi
in the song Tristesse (1939),
ETUDE OP. 10
NO. 3 IN E MAJOR
"TRISTESSE"
and Edgardo Donato in the tango
La Melodia del Corazón (1940)
ETUDE OP. 10
NO. 3 IN E MAJOR
"TRISTESSE "
"LA MELODY DEL CORAZON"
By Edgardo Donato Romeo Gavio, Vocals

https://www.youtube.com/watch?v=06y_jwDxWwo#t=77

NO. 3 IN E MAJOR
"TRISTESSE"
Song Arrangement
Manca Izmajlova, Vocals
https://www.youtube.com/watch?v=83AwKedowDU
ETUDE OP. 10
NO. 3 IN E MAJOR
"TRISTESSE"
"Dans La Nuit"
Sarah Brightman, Vocals

IN THE NIGHT
LYRICS
(English Translation)
By Anna Lena
And when in the night all fell asleep,
I saw the skies in front of my eyes closed.
In the silence I had found the truth,
As a flower which resembles my heart.
The air seemed lightweight lightweight
And the colors of an infinite softness,
The eyes closed.

The heart so pure
That sees the hope reviving,
Ms. Black made ​​if 
it seems to rain.

And when in the night all fell asleep,
I saw the skies in front of my eyes ferms.
In silence.

The heart so pure
That sees the hope reviving,
Ms. Black made ​​if 
it seems to rain.

And in the dark
can see hope.
http://www.metrolyrics.com/dans-la-nuit-english-in-the-night-lyrics-sarah-brightman.html
ETUDE OP. 10
NO. 3 IN E MAJOR
"TRISTESSE"
"NO OTHER LOVE"
Jo Stafford, Vocals
ETUDE OP. 10
NO. 3 IN E MAJOR
"TRISTESSE"
"THIS DAY OF DAYS"
ETUDE OP. 10
NO. 3 IN E MAJOR
"TRISTESSE"
"SO DEEP IS THE NIGHT"
Webster Booth and Anne Ziegler, Vocals
SO DEEP IS THE NIGHT
LYRICS
So deep is the night
No Moon tonight
No friendly star
To guide me with it's light
Be still my heart
Silent lest my love should be returning
From the world, far apart
So deep is the night
O, lonely night
On broken wings
My heart has taken flight
And left a dream
In my dream our lips are blending
Will my dream be never ending
Will your memory haunt me 'til I die
Alone am I, deep into the night
Waiting for the light
Alone am I, I wonder why
I wonder why.
"TRITESSE"
SADNESS
Pablo Picasso: Femme aux Bras Croises, 1901
"Etude" is the French word for "study."
If taken literally, this would make Chopin's
Etudes just mere studies to exclusive
technical exercises. Although to a certain
extent this was Chopin's intention, he also
wanted to achieve in these etudes a
balance between technical and artistic
aims. By creating very expressive etude
compositions he tying those elements
together he elevated the etude format to
the romantic grandeur which was unpre-
cedented in the earlier history of this genre.
Part of what distinguishes these etudes is a
rhythmic or textural complexity making the
etudes rewarding and unique. In them
Chopin relentlessly pursues sublime and
musically eclectic styles with a wide
range of moods, times, etc.
In all, Chopin wrote 24 etudes made ​​up of
two sets of 12 etudes, Op.10 and Op. 25
which are also suitable for concert perform-
ances), one in each key, like he did in his
Preludes. Each etude explores a different
technical challenge for an advanced
pianist serving as excellent practice
preparation for their repertoire.
Chopin's first set of studies, entitled
Douze Etudes Grande, Op.10,
was composed from 1828 to 1832.
The set was published in June,1833
and dedicated to Franz Liszt.
Of that set, Etude No's. 8-11 were the
first to be completed (originally numbered
7-10) and by 1831, when Chopin arrived
in Paris, all but No's. 3 and 4 had been com-
pleted. (On completion of the set their order
was arranged into a cycle for publication.)
Op.10 No. 3, named "Tristesse" (meaning
"sadness" in French) some say by Chopin himself,
was completed on August 25, 1832. It is of signifi-
cance that Chopin may have put a name to this
piece as he did not name many of his etudes.
This etude for solo piano is a slow cantabile
study (known for its fluid romantic operatic-
type phrasing manifesting Chopin's love for
Romantic opera) in which the right hand
must maintain a singing tone in the melody
whilst contributing to the accompaniment.
It marks a significant departure from the
technical virtuosity required in etudes written
before Chopin's time because instead of con-
centrating on technical skills it instead
focuses on melodious phrasing and legato
ambiance of performance. To this,
von Bülow once stated,
Hans von Bülow
"It is a study in expression."
Some critics have classified this as a
miniature piano etude tone-poem be-
cause the music never fails to move it's
listeners (particularly when the haunting
theme returns after the middle section's
dramatic outbursts composed of
intervals of fourth and sixth's).
The popular Etude Op. 10 No. 3 is set
apart from many of the other Op. 10 and
Op. 25 etudes most noticeably by its
tempo. Chopin originally envisioned it in
a much faster time than played in record-
ings we hear performed in today. Chopin's
first tempo marking was that of Vivace,
later changed to Vivace ma non troppo.
Only for its French publication, in 1833,
was the tempo of the outer sections
dramatically slowed down to Lento ma
non troppo. While many of the other
etudes in these two sets are whirlwinds
of notes, this etude, with the slower tempo,
is calmer and (due in part to that change)
is incredibly emotional and musical.
 
The primary technical focus here is playing
in three voices. The right hand plays the
melody and the left hand plays accompany-
ing notes. However, there is a sixteenth-
note third between the melody and bass,
played by both hands. In the middle of the
piece, the difficulty shifts to fast playing of
chromatic fourths, which could pose a
challenge to pianists who could otherwise
technically handle this piece with ease.
However, technique aside, expression-wise,
even the theme portion of this etude
is not without difficulties.
Herbert Weinstock
in his biography on Chopin stated,
"if it is relatively easy to play, it is
maddeningly difficult to play well."
In the middle section of this Etude, the
music splinters into symmetrically mirrored
figurations (littered with accidentals and
irregular rhythms) which threaten to lose
touch with an underlying harmonic found-
ation. In such passages we sense harmony
dissolving into 'color.' Such chromaticism
creates a sense of dissonance and un-
settledness. By deliberately delaying the
resolution of the dissonance, Chopin creat-
ed feelings within the listener of tension,
mystery, and the yearning for hope; hope
of the ultimate resolution and return to the
tonic, the ultimate home; his home, Poland.
This is heard when the torrential variation
eventually coalesces into the gentle rhythm
of the first theme, and the coda begins with
the final restatement of the first theme.
Again, what makes this particular etude not-
able, however, is not its technical difficulty,
it is the nostalgia, the wistfulness, and the
emotion that flow through the music. The
music had a special, private meaning for
the composer. As related by a famous
anecdote, when his pupil and
friend, Adolf Gutmann,
played it at a lesson, Chopin
broke down and sighed sadly,
"Oh, my homeland."
Chopin was said to have commented later
on in his life that this piece was most
intimate piece he had ever composed,
that it displayed the melody so beautifully
that he had never been able to write
another equal to it. He said,
"In all my life I have never again been
able to find such a beautiful melody."
This etude is one of the best expressions of
Chopin's nationalism
Joseph Chełmoński: Fine Weather Hawk (Polish Scenery)
and the love he felt for his Poland.
SOME FAMOUS PLACES IN POLAND
DURING THE TIME OF CHOPIN
K. F. Dietrich: Radziwiłł Palace, First Half of the 19th c.
Warsaw Conservatory Casimir Palace, Warsaw
Wincenty Kasprzycki: View of the Palace in Wilanów (Seen from the Park), Warsaw
 K. F. Dietrich: Warsaw National Theater
on Plac Krasińskich Opposite Krasiński Palace
Jan Seydlitz: A View of Castle Square from Krakowskie Przedmieście, Warsaw
Jan Seydlitz: Łazienki Palace at the Time of a Festival, Warsaw
The etude is not simply sad; it is an
"expression of something beyond sadness."

To play this piece on the piano for less
experienced pianists see this arrange-
ment transposed and arranged
in to the key of F Major:
Here is a simple melody version:

LINKS
http://www.filmowychopin.pl/baza-filmow.html
http://twilightstarsong.blogspot.com/2010/07/music
-monday-chopin-tristesse-so-deep.html
http://www.songfacts.com/detail.php?id=20194
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