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15:44 in E-flat major · Es-Dur · en mi bémol majeur 6 Nocturne (No 13) op 48, No nary of the birth of Frédéric Chopin (1810–49), he recorded a new selection of Chopin's works, pieces that constitute Schumann's Kinderszenen op 15

Frédéric Chopin: Nocturne Op 23 #1 The Piano Roars Kinderszenen, Op 15 Twelve Etudes, Op 10 (dedicated to Franz Liszt) --Intermission-- Franz Liszt

Guest Artist Recital: Frederic Chiu, piano - CORE

17 mar 1998 · Kinderscenen, op 15 (Scenes from Childhood) Strange Lands and People Curious Story Blind Man's Buff Pleading Child Perfectly

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Beethoven Sonata in D Minor, op 31/2; Robert Schumann Kinderszenen, op 15; Frederic Chopin Mazurkas, op 17; Frederic Chopin Ballade in F Minor, op 52

Capture synchrone de la production sonore et de la - Érudit

25 août 2019 · Kinderszenen, op 15 (Scenes from Childhood) by Schumann, which show both musical homogeneity but also a great variability of sound

[PDF] SYLLABUS / 2015 EDITION - The Royal Conservatory of Music

As The Royal Conservatory's publishing division, Frederick Harris Mignon (no 35) Albumblätter, op 124 l Walzer (no 4) Kinderszenen, op 15 l From Foreign

Scores Received

Frédéric Chopin, Préludes, edited by Norbert Müllermann and Hermann Keller Robert Schumann, Kinderszenen Op 15, edited by Ernst Herttrich and Walther

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[PDF] ROBERT SCHUMANN ROBERT SCHUMANN - IDAGIO

Kinderszenen, Op 15 the age of 20, when he began piano studies in Leipzig with Friedrich Wieck, later to and humorist, Jean-Paul (Johann Paul Friedrich

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ROBERT SCHUMANN (1810–1856) KINDERSZENEN OP 15 NR 8: TRÄUMEREI FRÉDÉRIC CHOPIN (1810–1849) GRANDE VALSE BRILLANTE AS-DUR

G010002358930B1

BALLADES

LUISADA

CHOPIN

JEAN-MARC

PLAYS FRÉDÉRIC

1810--1849

1Ballade No. 1, op. 23 in G minor · g-Moll · en sol mineur 10:45

2Ballade No. 2, op. 38 in F major · F-Dur · en famajeur 8:36

3Ballade No. 3, op. 47 in A-flat major · As-Dur · en labémol majeur 8:18

4Ballade No. 4, op. 52 in F minor · f-Moll · enfamineur 11:49

5Andante spianato and Grande Polonaise, op. 2215:44

in E-flat major · Es-Dur · en mibémol majeur

6Nocturne (No. 13) op. 48, No. 1 in C minor · c-Moll · en

utmineur 6:57

7Nocturne (No. 2) op. 9, No. 2 in E-flat major · Es-Dur · en mibémol majeur 4:35

Total time 67:21

Jean-Marc Luisada

piano 4

Recorded: July 26-29, 2010, Salamanca Hall, Gifu

Produced by Philip Traugott

www.philiptraugott.com Balance Engineer & Editing: Tak Sakurai (Pau, Ltd.) Recording Engineer: Kazuie Sugimoto (Victor Creative Media, Co.) Piano Tuner: Toshiro Suzuki (Yamaha Artist Services Tokyo) A&R: Ryusuke Kozawa (Sony Music Japan International, Inc.)

Photos: Eric Manas

Special thanks to: Yoshiyuki Inoue (Tokyo International Music Corporation Ltd.) Isabelle Campion · Yamaha Artist Services Tokyo · Salamanca Hall, Gifu Olivier Cochet (Sony Music France) · Masahiko Arao (Sony Music Foundation)

This album is dedicated to my dear friend Olga

Dieses Album ist meiner lieben Freundin Olga gewidmet Je dédie cet album à mon amie très chère, Olga

P& C2011 Sony Music Entertainment

The French pianist Jean-Marc Luisada has long been hailed as one of his generation"s foremost exponents of Chopin. And the accolade is by no means undeserved, for it was in 1985, shortly after he began his international career, that he emerged as one of the prize-winners at the Inter - national Chopin Competition in Warsaw, one of the world"s most prestigious music competitions. It was by no means his first award in such a competition, but it was undoubtedly his most impor- tant one. Among the young pianist"s earliest recordings were Chopin"s waltzes and mazurkas. And the first CD that he released after signing an exclusive contract with RCA Red Seal in 1998 was likewise devoted to Chopin, including the Ballade in A-flat major op. 47. It is above all as an interpreter of Romantic piano music that he enjoys an outstanding reputation in the world of music, appearing not only as a soloist but also in the concerto repertory and as a chamber reci- talist. While Chopin remains his first love, Jean-Marc Luisada has also done much to promote the piano music of Bizet and Fauré and in the process helped to rehabilitate both composers. His recording of their music was voted Disc of the Year in 1997. In 2010, to mark the bicente- nary of the birth of Frédéric Chopin (1810-49), he recorded a new selection of Chopin"s works, some of which he was revisiting. His recording of the mazurkas has already been released. This is his first recording of all four of the composer"s ballades, which were recorded in Salamanca Hall in the Japanese city of Gifu between 26 and 29 July 2010. "After a night of wild and debauched carousing ... as if fired anew by the spirit of wine and inspired to soar yet higher on the wings of soulful desire, the piece unfolded its powerful essence. I had never heard it played more gloriously." In 1890 - almost a whole generation after the 5

BALLADES: LUISADA PLAYS CHOPIN

piece was composed - the German poet Detlev von Liliencron published a poem to which he gave the title Ballade in G minor. Although its language may breathe a spirit of neo-Romantic excess and not be entirely free from sentiment, the poem arguably comes closer than any other to the essence of Chopin"s four ballades, all of them magnificent, large-scale compositions dating from the years between 1831 and 1842. As such, they postdate their composer"s depar- ture from his native Poland and his decision to settle in Paris. All four were quickly disseminated and soon came to be held in the highest regard. Like Liliencron"s poem, they present a picture of constantly shifting moods, ranging from melancholy to frenzied ecstasy and from a terpsi - chorean otherworldliness to extrovert technical virtuosity. And they must also be interpreted in the light of what was originally a literary form, even if they do not relate in any concrete way to a literary and, therefore, extra-musical source of inspiration. In order to be able to express himself and his own emotional world in music, Chopin quite literally had to invent new formal structures and genres. Not only did he succeed in this aim, he also demonstrated supreme originality in terms of their artistic realization. Ballades had not pre- viously existed in the world of instrumental music. Chopin"s ballades were inspired by a late

18th-century literary form and by the art song that developed from it. Etymologically, if not for-

mally, both the literary form and the art song can be traced back to the Romance ballad. (The word itself is derived from Middle Latin ballare= to dance or leap). The early French ballade consisted of several strophes and soon acquired a strict metrical form. It not only became the most important poetic form of the trouvères, it also entered the world of music as a dance song in the High Middle Ages. The German art ballad, by contrast, became popular only during the late 18th century and was a narrative poem comprising several strophes and seen by students of literature as a hybrid form combining elements of lyric, epic and dramatic poetry. It could assume a variety of different forms and frequently drew for its subject matter on medieval fairy - tales, on magic and the irrational and sometimes even on contemporary themes. Such poems 6 were generally characterized by a formal structure that built dramatically to a pointed climax and culmination. It is no surprise that poems such as these, which traded in a sense of mounting tension and which we would nowadays categorize under the heading of "Surprise, Suspense and Mystery", were taken up by musicians. The first to do so was Carl Loewe, who turned one such ballad into an art song in 1824. In the course of the 19th and 20th centuries, the ballad evolved from a piano-accompanied art song onomatopoeically illustrated by operatic effects to the rhapsodic piano ballades that Chopin introduced to the world of instrumental music and, finally, to the uncommonly popular programmatic symphonic poems of the Romantic and late

Romantic periods.

Of course, writers have never been able to agree if Chopin"s ballades go beyond their poetically inspired generic description and, as Robert Schumann claimed, derive from extra- musical sources. If it is true that they owe their inspiration to the "Lithuanian Ballads" of the Polish nationalist poet Adam Mickiewicz, who was the leading representative of Polish Romanticism, then the debt relates only in the most general way to their lyric, epic and dram - atic qualities. The themes that Mickiewicz explored derived from Polish and Lithuanian legends and fairytales but were introduced by the poet into a politicized context. There is no doubt that in 1831 these themes were highly topical and even politically explosive - both Mickiewicz and Chopin found new homes in the French capital following the Polish Uprising of November 1830, meeting frequently and, like all Poles, deeply affected by the political events that were then unfolding in their native Poland. And yet it was not in Chopin"s nature to write music that merely mimicked or illustrated specific identifiable poems. Unlike Schumann, he was averse to all such poeticizing and never gave his works non-musical titles or programmes. Either Schumann misunderstood him or, at best, he over-interpreted a passing remark and mistakenly thought that Chopin"s works were as programmatical as his own. Perhaps the sheer intransigence of his own attitude made him incapable of interpreting Chopin"s music in any other way. 7 If Chopin"s ballades do indeed owe their existence to narrative influences, then these in - fluences are not reproduced in any programme but were completely subsumed by music that can only be described as absolute. In short, we do not need to know Mickiewicz"s poems to understand Chopin"s ballades. Nor should we interpret the latter as a self-contained group of works, since each was conceived as a self-contained piece. And to see them as examples of national Polish music is entirely alien to Chopin and his whole output, even if his music, with its repeated allusions to Slav dance forms, is scarcely conceivable without a fundamental sense of longing for his own (lost) Polish homeland. The Ballade in G minor op. 23 - the first instrumental composition in the history of music to bear this title - was conceived in 1831 and completed in 1835. Chopin first played it in Leipzig to Robert Schumann, who is said to have exclaimed spontaneously that here was a work of genius. His enthusiasm was fired as much by Chopin"s music as it was by his piano playing and, indeed, by everything about him as a person. And yet as recently as 1831, when he was still an aspir - ing piano virtuoso whose career was about to implode, Schumann had had problems inter - preting Chopin"s music. The work modulates between the keys of G minor and E-flat major, which continue to circle around the harmonic axis of a Neapolitan sixth chord that repeatedly collides with a questing, almost plaintive motif found between sections expressive now of songlike reverie, now of dramatic triumphalism. The result is a hugely impressive piece that for a long time was Chopin"s personal favourite. Chopin worked on his Ballade in F major op. 38 between 1836 and 1839 and dedicated it to Schumann, who described it as "inferior to the first as a work of art, but hardly less fanciful and imaginative". Its distinctly simple opening section is in the most delicate F major and could even be interpreted as Chopin"s homage to the piano music of his German colleague. And yet we know that Chopin never held Schumann in such high regard as he himself was held by Schumann, 8 making it more than likely that the Andantino was written as a kind of parody of the piano pieces that constitute Schumann"s Kinderszenenop. 15, pieces intended for beginners and cor- respondingly simple in style. But in the following, dramatically gripping Presto con fuoco in A minor, Chopin affords impressive proof of his own ability to write for the piano. Although the alternative version shows Chopin in an unsympathetic light and reveals Schumann"s fundamen- tal lack of understanding, it receives some support from the fact that he recalled that when Chopin played him the piece, it ended in a conciliatory, Schumannesque F major, whereas the published version ends in A minor, an austerely detached sonority entirely typical of Chopin. The work"s dedication may be due merely to a sense of obligation, since Schumann had inscribed his Kreislerianaop. 16 to Chopin only a short time earlier. The opening section of the Ballade in A-flat major op. 47 of 1841 is likewise imbued with a Schumannesque lightness of touch, but Schumann"s verdict on the piece creates an even cooler impression than was the case with its predecessor, especially when we find him writing that "the refined and intelligent Pole, who is used to frequenting the most elegant circles of Parisian society, is instantly recognizable" in this ballade. The sentence almost sounds like a recrimi- nation accusing Chopin of writing cheap salon music. True, this is the most carefree of the four ballades and, like almost all of Chopin"s works for piano solo, is better suited to the intimacy of the salon than to the wide open spaces of the concert hall, and yet there is no doubt that it goes far beyond the shallow music of the period that was intended merely to entertain its audiences. It begins with a lyrical theme that soon gives way to the carefree, dancelike playfulness of a second musical idea. The middle section is in C-sharp minor, and from this point onwards the momentum is built up constantly, culminating in the self-assurance of the jubilant ending. The most complex and abstract of the ballades is the F minor Ballade op. 52 that dates from

1842. It is an episodic work that falls into several easily identifiable subsections of great ex -

pressive power and Romantically effusive eroticism. Taking up formal elements of the sonata, 9 10 variation and rondo, it combines those elements in a series of intricately interlocking sections that culminate in a highly dramatic and wildly virtuosic coda. In many respects the work may be seen as a quintessential expression of Chopin"s handling of formal, stylistic and narrative ele- ments, adopting a ludic approach to the interplay between waltz-like passages, cadenza-like episodes, a powerful use of ornament and sudden moments of stasis, when the music dies away. In the concluding coda motivic cross-references are used to ensure the work"s formal unity. No other ballade by Chopin flows as naturally as this, none creates so purposeful an im - pression and radiates such passion and emotion. It is impossible to imagine Chopin providing a more emphatic rebuttal of the two-dimensional picture that an all too frivolous world has formed of him, namely, the image of a magician conjuring up delicate sounds from the keyboard and creating a mood of transcendent poetry. This picture of a sorcerer idolized by his admirers completely ignores the male and active aspects of his nature, aspects that emerge to striking effect from his ballades and from a number of his other pieces. Although Chopin did not write another work under the title of "ballade", his Andante spianato and Grande Polonaise brillante in E-flat major op. 22 appear to fall under this heading as if as a matter of course - as the natural culmination of four pieces which, even if they do not belong together as a group, none the less create an altogether admirable series of works. One could even argue that they make a magnificent finale to this earlier set of ballades, constituting a final movement in which the composer returns to the sort of dance form which, essential to his own nature, was typical of Polish national music and with which he places a uniquely individual coping stone on the whole great edifice, achieving a brilliant apotheosis in the process. The rhapsodically free form of the ballades finds its counterpart in the multi-sectional Andante spia- nato, which begins with a fresh and carefree melody in G major whose arching lines unfold over

a gently rocking six-to-a-bar metre. In turn this leads to a calmly muted, almost solemn-seemingchordal passage. A fanfare then introduces the lively and carefree Polonaise in E-flat major, an

extended dancelike movement that brings the piece to a jubilant conclusion. It is one of the most beautiful and brilliant polonaises of its kind, a medium in which Chopin was a past master. Although listeners may form the impression that they are hearing the composer"s fifth ballade, this impression can unfortunately not be supported by the genesis of the piece, for it was not until 1834 that the Andante spianato was added to the Polonaise, which Chopin had begun four years earlier during his final months in Warsaw and which he completed in Vienna. As such, the Polonaise may be said to reflect the carefree style of an earlier age of innocence. Moreover, Chopin originally intended this polonaise to be accompanied by the gently supporting strains of an orchestra, which could now be abandoned with a clear conscience. Chopin himself per - formed the piece in its magnificently full-toned piano version for the first time in Paris in 1835, a year before it was published. Chopin"s nocturnes are dreamy "night pieces" that the world regards as the purest reflection of his character, works in which he was perhaps best able to express the "gentle force" of his inti- mate, poetic piano playing, achieving in the process the greatest possible perfection in terms of the instrument"s sonorities. It is with two of the most popular of these wonderfully tuneful com- positions that Jean-Marc Luisada brings to an end his homage to the grand master of delicacy and refinement, rounding off his recital on a note that is serenely carefree, joyous and peaceful.

Guido Johannes Joerg

Translation: Stewart Spencer

11 12

L‰ngst gilt der Franzose Jean-Marc Luisada als einer der profiliertesten Chopin-Interpreten sei-

ner Generation. Und nicht von ungef‰hr, denn schon 1985, kurz nach Beginn seiner internatio- nalen Karriere, ging er als Preistr‰ger aus dem Internationalen Chopin-Wettbewerb in War - schau hervor, einem der renommiertesten Musikwettbewerbe der Welt - keineswegs sein erster, aber gewiss sein wichtigster Wettbewerbspreis. Bereits unter den ersten Aufnahmen des jungen Pianisten waren Walzer und Mazurken von Chopin; und nachdem er dann 1998 einen Exklusivvertrag mit RCA Red Seal abgeschlossen hatte, verˆffentlichte er ebenfalls sogleich ein Album mit dessen Kompositionen (darunter auch die Ballade As-Dur op. 47). Vor allem als Interpret romantischer Klaviermusik hat er sich seitdem einen erstklassigen Namen gemacht - und das sowohl mit solistischem und konzertantem Repertoire als auch in Kammermusik -

formationen. Ist Chopin zwar immer pr‰sent, so hat Luisada doch auch der vielfach untersch‰tz-

ten Klaviermusik von Georges Bizet oder Gabriel Fauré mit einem zur CD des Jahres 1997 gew‰hlten Album zu neuem Ansehen verholfen. 2010, aus Anlass des zweihundertsten Geburtstags von Frédéric Chopin (1810-1849), konnte er etliche seiner Werke neu oder erstmals einspielen, von denen die Mazurken bereits verˆffentlicht wurden. Hier legt er nun seine erste Gesamtaufnahme von Chopins Balladen vor, aufgezeichnet zwischen dem 26. und 29. Juli 2010 in der Salamanca Hall im japanischen Gifu. »Nach einer wilden, w¸stdurchzechten Nacht [...] und wie vom Geist des Weines nur befeuert,

begeistert nur zu hˆherem Seelenflug, erwuchs zu m‰chtigem Wesen jenes St¸ck. Nie hatt" ich

herrlicher sie spielen hˆren..." In seinem 1890, fast ein Menschenalter nach ihrer EntstehungBALLADEN: LUISADA SPIELT CHOPIN

verˆffentlichten Gedicht mit dem Titel Ballade in g-Mollgelang dem deutschen Dichter Detlev von Liliencron - wenngleich neuromantisch ¸berhˆht und keinesfalls frei von Sentiment - viel-

leicht die grˆßtmˆgliche Ann‰herung an das Wesen der Balladen Frédéric Chopins - jener vier

großangelegten und großartigen musikalischen Schˆpfungen, die zwischen 1831 und 1842 ent- standen, nachdem der Pianist und Komponist sein Heimatland Polen verlassen und sich in Paris niedergelassen hatte, und die sich rasch verbreiteten und alsbald hoch gesch‰tzt wurden. Denn diese Musikst¸cke changieren ebenfalls - wie das Gedicht - zwischen sehr unterschiedlichen Stimmungsgehalten: zwischen Melancholie und rauschhafter Ekstase, zwischen t‰nzerischer

Weltenferne und extrovertierter technischer Virtuosit‰t - und sie sind dar¸ber hinaus ganz in

Verbindung mit einer urspr¸nglich literarischen Form zu sehen und zu verstehen, auch wenn sie sich wohl nicht konkret auf literarische, also außermusikalische Vorlagen beziehen d¸rften. Um sich und seine Gef¸hlswelt musikalisch zum Ausdruck bringen zu kˆnnen, musste Chopin neue Formgebilde und Gattungen regelrecht erfinden, bei deren k¸nstlerischer Aus - gestaltung er zudem hˆchste Originalit‰t bewies. Inspiriert sind seine Balladen, die in der Instru mentalmusik zuvor nicht existierten, von einer literarischen Form des ausgehenden

18. Jahrhunderts und dem daraus hervorgegangenen Kunstlied, die beide - etymologisch, nicht

aber formal - von der romanischen Ballade abstammen (das Wort selbst leitet sich vom mittel-

lateinischen Verb ballare f¸r tanzen, h¸pfen ab). Jene altfranzˆsische Volksballade, ein mehr-

strophiger, alsbald in eine feste metrische Form gef¸gter Reigen, war nicht nur zur bedeutends- ten Gedichtform der trouvères aufgestiegen, sondern hatte auch als hochmittelalterliches Tanzlied in die Musik Eingang gefunden. - Ganz im Gegensatz dazu handelte es sich bei der deutschen Kunstballade, die ab dem sp‰ten 18. Jahrhundert beliebt wurde, um eine mehrstro- phige erz‰hlende Versdichtung (literaturwissenschaftlich gesehen eine Mischform aus Lyrik, Epik und Dramatik), die unterschiedliche Gestalten annehmen konnte, h‰ufig mittelalterlich-

m‰rchenhafte oder magisch-irrationale, gelegentlich aber auch zeitgenˆssische Stoffe aufgriff

13 14 und sich meist durch die Hinf¸hrung auf einen dramatisch pointierten Hˆhepunkt und Abschluss auszeichnete. Kein Wunder, dass solcherart spannungsvolle Literatur - heute w¸rde vermutlich von surprise, suspense und mystery gesprochen werden - auch von Musikern aufgegriffen wurde; die Ballade war 1824 erstmals von Carl Loewe als musikalisches Kunstlied ausgeformt worden und entwickelte sich dann im Verlauf des 19. und 20. Jahrhunderts vom mit opernhaf- ten Effekten tonmalerisch illustrierten Klavierlied ¸ber die von Chopin in die Instrumentalmusik eingef¸hrten rhapsodischen Klavierballaden hin zu der bald ungemein popul‰ren Form der pro- grammatischen Sinfonischen Tondichtung von Romantik und Sp‰tromantik. Ob Chopins Balladen ¸ber die aus der Poetik entlehnte Gattungsbezeichnung hinaus auch - wie Robert Schumann berichtete - inhaltlich auf außermusikalische Vorlagen zur¸ckgehen, ist

freilich hˆchst umstritten. Sollten sie ihren Impetus wirklich jenen »Litauischen Balladen" seines

Landsmanns, des polnischen Nationaldichters Adam Mickiewicz verdanken, des bedeutendsten Vertreters der polnischen Romantik, dann gewiss nur in einem hˆchst allgemeinen, auf deren lyrische, epische und dramatische Qualit‰ten bezogenen Sinne. Sicherlich waren die polnisch- litauischen Sagen und M‰rchen entstammenden Themen, die Mickiewicz in einen politischen Kontext ¸bertragen hatte, 1831 hochaktuell und auch politisch einigermaßen brisant (beide K¸nstler hatten nach dem Novemberaufstand 1830 in der franzˆsischen Metropole ihre neue Hei -

mat gefunden, verkehrten regelm‰ßig miteinander und waren - wie alle Polen - von den aktuellen

politischen Ereignissen in ihrem Vaterland tief ergriffen), doch dem Wesen des K¸nstlers Chopin

entspr‰che es so gar nicht, h‰tte er konkrete Gedichte in seinen Musikst¸cken tonmalerisch ab-

oder nachgebildet. Anders als Schumann gab er, der all solchem Poetisieren geradezu abhold war, seinen Werken niemals außermusikalische Titel oder Programme mit; entweder hat ihn jener

f‰lschlicherweise ebenso programmatisch aufgefasst, wie seine eigenen. Vielleicht vermochte er sie

- seiner grunds‰tzlich verschiedenen Einstellung wegen - auch gar nicht anders zu begreifen.Sollten sich Chopins Balladen wirklich narrativen Einfl¸ssen verdanken, dann wurden diese

nicht programmatisch abgebildet, sondern sind vollst‰ndig in einer absoluten Instrumental -

musik aufgegangen. F¸r ihr Verst‰ndnis ist die Kenntnis der Gedichte also vollkommen unerheb-

lich. Dass die Balladen (die ¸brigens auch nicht als geschlossene Werkgruppe fehlverstanden

werden d¸rfen, da jede als selbst‰ndige Arbeit entstanden ist) immer wieder auch als polnische

Nationalmusik gedeutet werden, liegt K¸nstler und OEuvre wohl ebenso fern, wenngleich Chopins Musik, in der ja immer wieder slawische Tanzformen aufgegriffen werden, ohne eine grunds‰tz- liche Sehnsucht nach der (verlorenen) polnischen Heimat kaum vorstellbar ist. Seine Ballade g-Moll op. 23 - die erste Instrumentalkomposition der Musikgeschichte mit die- sem Titel - (ab 1831 konzipiert und 1835 vollendet) hatte Chopin erstmals in Leipzig dem gleich- altrigen Robert Schumann vorgespielt, der spontan ausgerufen haben soll, dies sei das Werk eines Genies. Schumann war begeistert von dem Menschen, seinem Klavierspiel wie seiner Musik, hatte sich aber schon 1831 als angehender, bald scheiternder Klaviervirtuose mit der Interpretation der Chopin"schen Werke schwergetan. - Sich in den alternierenden Tonarten g-Moll und Es-Dur fortbewegend, die um die harmonische Achse eines neapolitanischen Sext - akkords kreisen, der wiederholt ein suchendes, fast klagendes Motiv zwischen den mal gesang-

lich-tr‰umerischen, mal dramatisch auftrumpfenden Abschnitten anstˆßt, entwickelt sich das

eindrucksvolle Musikst¸ck, das f¸r lange Zeit Chopins persˆnlicher Favorit war. Die Ballade F-Dur op. 38 (erarbeitet zwischen 1836 und 1839) ist Robert Schumann gewid- met, der sie als »weniger kunstfertig als die erste, aber ebenso fantastisch und intellektuell" beurteilte. Dabei kˆnnte der geradezu simple, in zartestem F-Dur gehaltene Anfangsabschnitt doch gewissermaßen als Reverenz an die Klaviermusik des deutschen Komponistenkollegen aufgefasst werden - wenn Chopin, der diesem keineswegs eine gleichartige Wertsch‰tzung entgegenzubringen vermochte, jenes Andantino nicht vielleicht sogar als eine Art Parodie auf 15 16

dessen einfache, f¸r Anf‰nger geeignete Klavierst¸cke der Kinderszenenop. 15 komponiert hat.

Mit seinem nachfolgenden, dramatisch zupackenden Presto con fuoco in a-Moll jedenfalls stelltquotesdbs_dbs20.pdfusesText_26

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