유튜브 Traum Piano 피아니스트 장성 소장용 CD
듣는이의 영혼을 깊이 울려주는
진정한 예술로의 안내자
피아니스트 장성SUNG CHANG!
이 음반을 통해
진실된 피아니즘의
가치와 만나게 될 것입니다.
장성 SUNG CHANG
----------------------------
Franz Schubert : Drei Klavierstücke
Enrique Granados : Valses Poéticos
Frédéric Chopin : 12 Études, Op. 10
Maurice Ravel : La Valse
* 한정수량이므로 조기품절될 수 있습니다.
간편결제 가능장성 피아니스트
----
16세, 한예종 최연소 입학
하노버 국립음대를 졸업
2009년 제25회 비오티 발세시아 국제 음악 콩쿠르 피아노 부문 우승
2015년 제7회 뵈젠도르퍼 국제 콩쿠르 우승
2011년 제13회 독일 하노버 쇼팽 국제 콩쿠르 우승
유튜브채널 Traumpiano 17만명 구독자 보유
Franz Schubert: Drei Klavierstücke, D. 946
Franz Schubert composed the Drei Klavierstücke, D. 946 in the final year of his life, and may have intended to group these three pieces with a fourth, as he had with the better-known sets of four Impromptus, D. 899 and D. 935. The full profundity and subtly of Schubert's late style is present here, as is the quasi-operatic drama characteristic of much of the composer's music, and especially the lieder. No. 1 in E-flat Minor is cast in an expansive three-part form. The mood alternates from insistent though noble in the outer sections, to nostalgic and reflective in the inner trio centered in B Major. Like the first piece, No. 2 in E-flat Major juxtaposes turbulence with serenity, though in a five-part form. The opening Allegretto, a lyrical barcarolle, is interrupted by two stormy episodes: the first in C Minor, and the second in A-flat Minor. Although shorter than its siblings, No. 3 in C Major is no less dramatic. This piece is in three-part form, with a jaunty and virtuosic dance bookending a magical quasi-chorale set a half-step up in D-flat Major.
Frédéric Chopin: 12 Études, Op. 10
Frédéric Chopin elevated the etude from mere technical exercises to poetic expressions which demand not only technical, but musical mastery of the material. Beautifully conceived as a set of twelve character pieces, the Op. 10 etudes venture through the gamut of human emotions and showcase Chopin's expressive capabilities at the piano. The Etude No. 1 in C Major is a jubilant introduction, featuring brilliant arpeggios spanning tenths up and down the keyboard above a cantus-firmus melody in the low register. The second etude, a mysterious quasi-scherzando, requires a delicate separation of the right hand: the 3rd 4th and 5th fingers play chromatic figures sempre legato while the 1st and 2nd accompany with short two-note chords. Nicknamed “Tristesse”, the following etude showcases Chopin's capacity for bel canto writing and requires the pianist to project a beautiful cantabile melody above a polyphonic texture. Chopin's writing evokes the muted sadness of nostalgia and might communicate memories of his youth in Poland. The next two etudes provide dazzling contrast to the tender “Tristesse”. The Etude No. 4 in C- sharp minor presents a fiery perpetual motion dialogue between the pianist's right and left hands, and the vivacious “Black Keys” etude features a sparkling right-hand melody played entirely on the black keys. A moment of reflection appears in the middle of the set: the nocturne-like Etude in E-flat Minor features an elegiac duet above a dark and meandering accompaniment. The sun comes out again: the playful Etude No. 7 in C Major resembles a toccata, with the rapid alternating patterns of thirds and sixths above a chromatic left-hand melody. Similarly, the Etude No. 8 in F Major presents bubbling passagework which runs up and down the keyboard above a rustic left hand melody featuring a drone bass, dotted rhythms, and teasing grace notes. The F Minor Etude is an agitated and passionate song without words, with a haunting and restless melody fighting against a turbulent accompaniment. Cast in the relative major, the Etude No. 10 in A-flat Minor is an essay in the possibilities of articulation at the piano, with a pattern in sixths subjected to every conceivable combination of accents, slurs, and staccato markings. The penultimate piece is a harp-like interlude in E-flat Major before the so-called “Revolutionary” etude: a virtuosic tour de force featuring dramatic runs and bravura octaves in an assertive conclusion to the set.
Enrique Granados: Valses Poéticos
The Valses poéticos is a youthful work, likely composed in 1886 or 1887 when Enrique Granados was twenty years old. Around this time, Granados traveled to Paris from his native Spain to Paris study with the pianist Charles-Wilfrid de Bériot. The seven waltzes of the set have a certain cosmopolitan simplicity characteristic of the salon music popular in Belle Époque Europe, and perhaps Granados envisioned an elegant soirée as the setting for this music. Granados may have had the charming orchestral waltzes of Johann Strauss II in mind, or perhaps the more intimate waltzes for solo piano of Franz Schubert. The seven waltzes are precious and fragile: melodies are clear and tuneful, and never excessively emotional. The harmonies are pleasing and often predictable, though Granados occasionally injects some Flamenco or gypsy flavor into the accompaniment. The seven poetic waltzes are bookended by an exuberant, orchestral introduction (vivace molto) and a finale of virtuosic fireworks (presto). A poignant encore of the first waltz ends the set; the soirée ends quietly as the guests go home.
Maurice Ravel: La Valse
Maurice Ravel likely began sketches of an homage to Johann Stauss II in 1906, and adjusted the work over a period of 14 years. This was a turbulent time, and Ravel saw the decimation of the First World War firsthand as a driver for the French army. Ravel presented La Valse: Poème chorégraphique to Sergei Diaghilev of the Ballet Russes in 1920. Although the impresario rejected it as a ballet, the work became immensely popular as a tone poem for orchestra, and it is perhaps best known in this form today. The composer also arranged two-piano and piano solo versions of La Valse; in the solo piano transcription heard on this recording, Ravel attempts to surpass the limits of the piano and challenges the pianist to perform superhuman feats in pursuit of the contrasts and power of the full orchestra. Fragments of waltz-themes float by and gradually coalesce into climactic chaos over the course of the work. The freneticism of La Valse might reflect the upheavals Ravel witnessed during the first two decades of the 20th century, however Ravel himself had a nineteenth-century Viennese setting in mind. His preface to the orchestral score reads: “Through whirling clouds, waltzing couples may be faintly distinguished. The clouds gradually scatter: one sees at letter A an immense hall peopled with a whirling crowd. The scene is gradually illuminated. The light of the chandeliers bursts forth at the fortissimo letter B. Set in an imperial court, about 1855.” Liner notes written by Dr. Daniel Linder
| 발매사 | (주)비손콘텐츠 |
|---|---|
| 기획사 | (주)비손콘텐츠 |
🔽 장성 피아니스트 연주 감상하기
🔽 유튜브 트라움피아노 채널 영상
장성 피아니스트
----
16세, 한예종 최연소 입학
하노버 국립음대를 졸업
2009년 제25회 비오티 발세시아 국제 음악 콩쿠르 피아노 부문 우승
2015년 제7회 뵈젠도르퍼 국제 콩쿠르 우승
2011년 제13회 독일 하노버 쇼팽 국제 콩쿠르 우승
유튜브채널 Traumpiano 17만명 구독자 보유
Franz Schubert: Drei Klavierstücke, D. 946
Franz Schubert composed the Drei Klavierstücke, D. 946 in the final year of his life, and may have intended to group these three pieces with a fourth, as he had with the better-known sets of four Impromptus, D. 899 and D. 935. The full profundity and subtly of Schubert's late style is present here, as is the quasi-operatic drama characteristic of much of the composer's music, and especially the lieder. No. 1 in E-flat Minor is cast in an expansive three-part form. The mood alternates from insistent though noble in the outer sections, to nostalgic and reflective in the inner trio centered in B Major. Like the first piece, No. 2 in E-flat Major juxtaposes turbulence with serenity, though in a five-part form. The opening Allegretto, a lyrical barcarolle, is interrupted by two stormy episodes: the first in C Minor, and the second in A-flat Minor. Although shorter than its siblings, No. 3 in C Major is no less dramatic. This piece is in three-part form, with a jaunty and virtuosic dance bookending a magical quasi-chorale set a half-step up in D-flat Major.
Frédéric Chopin: 12 Études, Op. 10
Frédéric Chopin elevated the etude from mere technical exercises to poetic expressions which demand not only technical, but musical mastery of the material. Beautifully conceived as a set of twelve character pieces, the Op. 10 etudes venture through the gamut of human emotions and showcase Chopin's expressive capabilities at the piano. The Etude No. 1 in C Major is a jubilant introduction, featuring brilliant arpeggios spanning tenths up and down the keyboard above a cantus-firmus melody in the low register. The second etude, a mysterious quasi-scherzando, requires a delicate separation of the right hand: the 3rd 4th and 5th fingers play chromatic figures sempre legato while the 1st and 2nd accompany with short two-note chords. Nicknamed “Tristesse”, the following etude showcases Chopin's capacity for bel canto writing and requires the pianist to project a beautiful cantabile melody above a polyphonic texture. Chopin's writing evokes the muted sadness of nostalgia and might communicate memories of his youth in Poland. The next two etudes provide dazzling contrast to the tender “Tristesse”. The Etude No. 4 in C- sharp minor presents a fiery perpetual motion dialogue between the pianist's right and left hands, and the vivacious “Black Keys” etude features a sparkling right-hand melody played entirely on the black keys. A moment of reflection appears in the middle of the set: the nocturne-like Etude in E-flat Minor features an elegiac duet above a dark and meandering accompaniment. The sun comes out again: the playful Etude No. 7 in C Major resembles a toccata, with the rapid alternating patterns of thirds and sixths above a chromatic left-hand melody. Similarly, the Etude No. 8 in F Major presents bubbling passagework which runs up and down the keyboard above a rustic left hand melody featuring a drone bass, dotted rhythms, and teasing grace notes. The F Minor Etude is an agitated and passionate song without words, with a haunting and restless melody fighting against a turbulent accompaniment. Cast in the relative major, the Etude No. 10 in A-flat Minor is an essay in the possibilities of articulation at the piano, with a pattern in sixths subjected to every conceivable combination of accents, slurs, and staccato markings. The penultimate piece is a harp-like interlude in E-flat Major before the so-called “Revolutionary” etude: a virtuosic tour de force featuring dramatic runs and bravura octaves in an assertive conclusion to the set.
Enrique Granados: Valses Poéticos
The Valses poéticos is a youthful work, likely composed in 1886 or 1887 when Enrique Granados was twenty years old. Around this time, Granados traveled to Paris from his native Spain to Paris study with the pianist Charles-Wilfrid de Bériot. The seven waltzes of the set have a certain cosmopolitan simplicity characteristic of the salon music popular in Belle Époque Europe, and perhaps Granados envisioned an elegant soirée as the setting for this music. Granados may have had the charming orchestral waltzes of Johann Strauss II in mind, or perhaps the more intimate waltzes for solo piano of Franz Schubert. The seven waltzes are precious and fragile: melodies are clear and tuneful, and never excessively emotional. The harmonies are pleasing and often predictable, though Granados occasionally injects some Flamenco or gypsy flavor into the accompaniment. The seven poetic waltzes are bookended by an exuberant, orchestral introduction (vivace molto) and a finale of virtuosic fireworks (presto). A poignant encore of the first waltz ends the set; the soirée ends quietly as the guests go home.
Maurice Ravel: La Valse
Maurice Ravel likely began sketches of an homage to Johann Stauss II in 1906, and adjusted the work over a period of 14 years. This was a turbulent time, and Ravel saw the decimation of the First World War firsthand as a driver for the French army. Ravel presented La Valse: Poème chorégraphique to Sergei Diaghilev of the Ballet Russes in 1920. Although the impresario rejected it as a ballet, the work became immensely popular as a tone poem for orchestra, and it is perhaps best known in this form today. The composer also arranged two-piano and piano solo versions of La Valse; in the solo piano transcription heard on this recording, Ravel attempts to surpass the limits of the piano and challenges the pianist to perform superhuman feats in pursuit of the contrasts and power of the full orchestra. Fragments of waltz-themes float by and gradually coalesce into climactic chaos over the course of the work. The freneticism of La Valse might reflect the upheavals Ravel witnessed during the first two decades of the 20th century, however Ravel himself had a nineteenth-century Viennese setting in mind. His preface to the orchestral score reads: “Through whirling clouds, waltzing couples may be faintly distinguished. The clouds gradually scatter: one sees at letter A an immense hall peopled with a whirling crowd. The scene is gradually illuminated. The light of the chandeliers bursts forth at the fortissimo letter B. Set in an imperial court, about 1855.” Liner notes written by Dr. Daniel Linder
| 발매사 | (주)비손콘텐츠 |
|---|---|
| 기획사 | (주)비손콘텐츠 |
🔽 장성 피아니스트 연주 감상하기
🔽 유튜브 트라움피아노 채널 영상