Скачать с ютуб Chopin: Fantasy in F Minor, Op.49 (Tacchino, Rubinova, Avdeeva) в хорошем качестве

Chopin: Fantasy in F Minor, Op.49 (Tacchino, Rubinova, Avdeeva)

Possibly the most un-fantasy-like single-movement fantasy ever written. So much of what makes this masterwork tick is essentially anti-spontaneous: large-scale tonal organisation, structured repetition, subtle motivic anticipation. (That said, it’s worth noting Chopin rather made a habit out of gainsaying genre expectations: his Barcarolle isn’t a barcarolle, the Scherzi aren’t even remotely funny or even lighthearted, the Waltzes are completely undanceable, the Preludes aren’t prelude to anything, the Nocturnes render Field unlistenable…) To give an idea of how perverse this work is, consider the only texture in the work that actually sounds improvised (everything else is too harmonically dense): the “preluding” transition at 3:13. This little bit of music – texturally wonderful though it is – contains in ultra-compressed form the whole tonal layout of the work’s main five themes (Fm, Ab, Cm, Eb). The unification of momentary texture with large-scale tonal progression is the sort of grand trick associated with Beethoven and Schubert, and it’s nice to see it pop up in Chopin too. Plus, this preluding transition is used to generate all the transitional material in the entire work – see 6:16, 7:24 (and similar), plus the ending flourish. There’s lots of other structural stuff going on here too – the most important is probably the radiant hymn in B that takes up the middle of the work. The hymn – unlike the middle section of the Polonaise-Fantasy, for instance – has absolutely no thematic link to the rest of the work: it’s there as a magic, otherworldly release, and does not pretend to be anything else. But there’s tonal ingenuity happening here too: the key relation of this section to the whole work (B to F minor) is anticipated by the two themes which come immediately before the hymn, which have been deliberately rearranged to be in the keys of C minor and Gb. And the way the piece finds one last pause the hymn at 12:28 – ecstatically gory and tender at the same time – is a fantastic touch. It goes without saying that there is much more to this work than structure. Much as the Polonaise-Fantasy is a rather abstract meditation on the idea of the polonaise, this is a study of the march. All three (and a half, if you count Theme 4: 5:22) have distinct characters. The first is tragic, the second lilting and a little hopeful, the last vacillating between parodic and celebratory. 00:00 – Tacchino. I can’t tell you how happy I was to find this recording – it’s so very, very, very hard to find performances that actually sound raw and fresh and fun. It’s a fantasy, it ought to sound, you know, fantastic! The main thing here is the sense of spontaneity: listen to the way he accelerates through the rising figuration at 4:50, the actual audible slurs at 5:09, the (hilarious) tempo whiplash with the entrance of March 3 at 5:49, and the incredibly flexible phrasing of the Lento sostenuto middle section – especially the way rubato is used to highlight important rest points. 14:03 – Rubinova. This one is all about texture. Just a profusion of very intelligent little things done well: taking the very first note staccato, the consistent overdotting of the introductory marches, playing up sequential or simultaneous contrasts (a lyrical phrase giving way to the rigid march at 14:46, LH vs RH at 16:06), the pedal-less Theme 1 letting the LH chromatic voicing shine (18:09) before giving way to the most delicate rendition of Theme 2 I’ve heard, the leonine octaves of Theme 4 leading to jagged (un-pedaled) climaxes (19:15). Even the slurs which Tacchino puts into Theme 3 are there, though in a much more subtle form. 27:58 – Avdeeva. A very different approach to either Tacchino or Rubinova – in short, it’s pretty focused on large-scale considerations of form and balance, and on keeping the work as unified as possible. So there’s very little rubato throughout, as the focus is on maintaining the pulse – but this makes moments when the leash is loosened truly epiphanic (e.g., the sudden slowdown at the lovely modulation at 29:11; or the agogic pauses during the climatic 32:33). Another nice thing is the way Avdeeva builds up momentum in large chunks: the transition at 30:58 is taken faster than you expect, but that’s because the whole section is treated as one large preparation for the entrance of Theme 1 – it builds and builds relentlessly. Similarly the transition into Theme 4 (32:40), which starts at a healthy clip and ends up almost precipitously fast.