Шопен, Фридерик - Три полонеза, соч. 71 - текст песни, слова, перевод, видео

1. OP. Posth. 71 No. 1, re minor (... - 6:07);

2. OP. Posth. 71 No. 2, C-Bemol Major

(6:07 - 13:37)

3. OP. Posth. 71 No. 3, fa minor (13:37 - ...)

Polonaise OR. 71 No. 1 RE Minor (1827) - a very expressive example of Chopin's youthful work. Unlike previous polonaose - talented “vapor test” - this is already breathing genuine power. There are new shopen thinking features and textures: massive chords of the fourth tact, passages with “tops” from terminals and quarts (tact 11), the widest development of ornaments and beats in the beaten Side tones (especially in tactes 22-25, where there are also voiced sequences of small septim).

But the main thing is the appearance of a dramatic plan in the polonaise, carried out with excellent skill.

There is hardly any doubt that the prototype for Chopin should have served as a weber's polons and, above all, his wonderful Polacca Brillante (op. 72, op. In 1819).

The best feature of this play - the energetic pulse of the movement - is brilliantly captured and independently developed by the Chopin. In this regard, it should be noted in this regard, starting with a tact of 19 of the average (d-dur) part, where from smooth swaying tonics FIS-DUR grows increasingly dynamic and sonorous figures playing tonal colors and leading to a powerful fortissimo!

But the drama attachs the drama to the grace and brilliance of Weber. Already in the first strokes with their rapid 32nd and alarming syncopes on Si-Bemol, one can predict the future great poet of the tragedy of Poland. A long transition (tacts 22-29) to the reprise of the first topic is even more symptomatic. A passionate rise on the dominant, the descent with a chain of chromatic reduced septacords and a languid lull before the entry of reprise is almost a chopin of the 30s, yearning and suffering! We will not, however, be surprised at such a “foresight of events” - after all, the historical tragedy of Poland is rooted back in the 18th century, because even Oginsky transmitted his exciting echoes in his polons.

Polonaise OR. 71 No. 2, Si-Bemol Major (1828), in terms of crystallization of the typical polonaose texture of Chopin, makes a significant step compared to D-Moll Polonaise (OP. 71 No. 1). The energy of movement (as in that polonaise) is pronounced. But the texture becomes much denser and powerful. The full-fledged chords of the first clocks and the alarming fanfares of the dotted groups at the beginning of the second part with greater clarity than similar points in the D-Moll Polonais, they make us recall the later chopin polonays. Despite the abundance of petty ornamental technology, so inherent in Chopin’s work in the early period, the music of this polonaise is noticeably more harsh and courageous due to its texture and rhythmic skeleton.

Of particular interest is the period from the tact of 19 to 27 of the second part of the polonaise: here the shifts of various septaccords with detention and melodic beatings are characterized by illegal (incessant transitions), after which four A-Dur tacts are especially light and calm. This is one of the aspects of chromatism of Chopin, an example of those truly romantic dives in the jungle of multi-digit relations of the 12-ton system, which gave the reason to some Chopin biographers to compare it ... with Ossian.

The most notable are two piano polons written in 1829: FI Minor (Op. 71 No. 3) and Sol-Bemol Major (without opus) (both were published posthumously).

The F-Moll Polonaise pay attention to the first four tactes of the introduction, sustained in the spirit of the gloomy psalmodia. This expressive passage, as well as the dreary beginning of Polonaise with a ringing dance and dramatic growth opposed to it before the reprise in the first part, forces to see the elements of future, passionately tense chopen forms in this polonaise.
GES-DUR polonaise is also symptomatic, more dense in texture, attracting freedom and a scale of harmonious and textured writing, although less melodic than F-Moll Polonaise. Here some features of future monumental chopen polonaose are developed (in particular, the rising phrases of the teles in the tactes 13-15 immediately force to recall the polonaise of Fis-Moll Oral. 44).

Yu. Kremlin