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Usage on ckb.wikipedia.org ڤالز (مۆسیقا) Usage on de.wikipedia.org Frédéric Chopin; Usage on fr.wikipedia.org Valses de Chopin; Valse, opus 64 no 2 de Chopin; Valse avec Bachir; Usage on ja.wikipedia.org ワルツ第7番 (ショパン) Usage on ko.wikipedia.org 왈츠, Op. 64, No. 2 (쇼팽) Usage on pl.wikipedia.org Lista dzieł ...
Possibly the first venture into fictional treatments of Chopin's life was a fanciful operatic version of some of its events: Chopin (1901). The music – based on Chopin's own – was assembled by Giacomo Orefice, with a libretto by Angiolo Orvieto . [252] [253] Chopin's life has been fictionalised in numerous films. [254]
The Waltz in C ♯ minor is a piano waltz composed by Frédéric Chopin in 1847, the second work of his opus 64 and the companion to the "Minute Waltz" (Op. 64, No. 1). Chopin dedicated this Waltz to Madame Nathaniel de Rothschild .
Chopin composed the piece before he had finished his formal education, at around 20 years of age. It was first performed on 17 March 1830, in Warsaw, Poland, with the composer as soloist. It was the second of his piano concertos to be published (after the Piano Concerto No. 1), and so was designated as "No. 2", even though it was written first ...
Chopin at 25, by Maria Wodzińska, 1835. Most of Chopin's compositions were for solo piano, although he did compose two piano concertos (his concertos No. 1 and No. 2 are two of the romantic piano concerto repertoire's most often-performed pieces) as well as some other music for ensembles.
The edition provides a new numbering scheme ("WN") for works published after Chopin's death, similar to existing catalogues by Maurice J. E. Brown (B) and Krystyna Kobylańska (KK). Some works have opus numbers assigned after Chopin's death by Julian Fontana, who grouped a number of unpublished piano pieces into eight opus numbers (Op. 66–73 ...
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Together with a number of rondos (Opp. 1, 5, 16 and 73), the Polonaise brillante and the Variations on "Der Schweizerbub", Chopin's compositions for piano and orchestra belong to a group of compositions in brilliant style, no longer confined by the tenets of the Classical period, which were written for the concert stage in the late 1820s to early 1830s.