LA CI DAREM LA MANO CHOPIN PDF

He chooses to simply focus on the innocence and romance in the duet. The work begins with an introduction based on fragments of the famous "La ci darem la mano" theme. This first section is marked Largo -- Poco piu mosso, and has a rather stately air about it. There follows a rather straightforward rendering of the theme by the piano, with minimal playing by the orchestra except near the end when it takes up the theme. The exuberant first variation, marked Brilliante, is given next.

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He chooses to simply focus on the innocence and romance in the duet. The work begins with an introduction based on fragments of the famous "La ci darem la mano" theme. This first section is marked Largo -- Poco piu mosso, and has a rather stately air about it. There follows a rather straightforward rendering of the theme by the piano, with minimal playing by the orchestra except near the end when it takes up the theme.

The exuberant first variation, marked Brilliante, is given next. It lasts but a minute, like most that follow, but is not short on color or energy or high spirits.

The second variation, marked Veloce, ma accuratamente, is even more energetic, starting like a shot out of a gun on the keyboard, with the orchestra eventually entering to offer another view of the theme and serving to slacken the breathless pace of the music. The next variation, marked Sempre sostenuto, is more relaxed, though still brimming with energy and high spirits. Variation No. The string of short variations here -- Nos.

It begins in a somber mood, but does not quite jettison the playful remnants spilling over from the previous sections.

The first part is lovely and elegant, Chopin not yet finding the romance and passion in his style that would later permeate so much of his music. The latter half of this section finds the mood buoyant once again, but with the piano also turning on the fireworks. This is a fine early work by Chopin and is often recorded and played in concert. A typical performance lasts from 17 to 19 minutes.

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In his early career he wrote two piano concertos and three other concertante pieces, but always remained relatively indifferent to the orchestral elements of these works, often using the orchestra as a mere accompaniment to the much more brilliant piano part. Chopin often played the variations without accompaniment, and he later abandoned the orchestra almost entirely in his compositions, though he was working on a third concerto as late as , and in he published the Allegro de concert , speculated to be the first movement of the unfinished concerto. The solo piano version has been recorded by Nikolai Demidenko and others. It received very positive audience and critical acclaim. Writing to his parents in Warsaw about his success, he said that "everyone clapped so loudly after each variation that I had difficulty hearing the orchestral tutti.

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