World's Top Ten Piano Pieces

Top Ten World Famous Piano Pieces

1:Chopin: "Army" Polonaise

"Army Polonaise]" Also known as "Army Polonaise" and "Third Polonaise". Piano piece. Chopin composed in October 1838. The musical content of the Polish dances he composed has far exceeded the scope included in the dance genre. His Polish dances can be roughly divided into two categories. One is high in mood, grand in spirit, and rich in drama; the other is sad in mood, delicate and beautiful, and rich in poetry. The present piece and Chopin's other "Heroic Polish Dance" belong to the first category. Liszt most appreciated these two pieces of music, almost in his every piano recital to play these two pieces of music. The present piece, in A major, three beats, in compound three-part form, is a triumphant march. It celebrates the glorious achievements of the Polish national struggle, and is considered to be one of the works in Chopin's music in which the national spirit is embodied most strongly. The theme is powerful and expresses the high and firm mood of the army. The melody in the center is powerful and loud, like a military bugle echoing on the earth. The third part is a complete reproduction of the first part, which unifies the whole piece in a majestic atmosphere. This melody is beautiful and moving, and of course there is the ever-present "Russian melancholy", which is first sung on the piano, in a simple and calm manner, and then gives way to the strings, where the passion grows and develops into a romantic and passionate paean. This music has a touching artistic charm, especially rich in romantic flavor, it is only a musical fragment, not a movement, although it has also been drawn out into some romantic collection of recordings, in the ballet stage can also be seen in the ballet miniatures of this music. When Rachmaninoff first wrote Rhapsody on a Theme of Paganini, he intended to represent Paganini's legendary stage persona, a thin, bony, pale, frenzied, ghostly shell wrapped in a passionate soul, which, when awakened by the god of art, plays radiantly and frantically, with the brilliant music illuminating the entire hall. Rachmaninoff was even thinking of bringing this rhapsody to the ballet stage at the same time he was writing it; he provided the idea for the ballet plot, and the choreographer-director was, of course, again the ballet master, Fokine.　The violin devil has been portrayed by many as a show-off, and to fail to see the stylistic impact his brilliant technique had on the Romantics is not only to undervalue Paganini's art, but also to ignore the nature of Romantic art. Romanticism is an uninhibited and endless beauty, and the most prominent feature of romantic music is its wildly subjective expression. The musician's expression of a wild and unrestrained emotional world must be backed up by a pure skill in order to enter the boundless realm of art. There is an anecdote that illustrates this very problem. Once, a fiddler went to Beethoven with a score, suggesting that certain violin parts were too difficult to play and asked the composer to revise them, but Beethoven said, "When God awakens me, do you think I'll even think about your unlucky fiddle?"

3:Liszt: Dreams of Love Liszt rewrote three of his songs as three piano pieces entitled Liebestraum (S541). The original lyrics are used as title poems for each of the piano pieces. The title poems for the first and second are Hohe Liede (Sublime Love) and Seliger Tod (Happy Death) by the German poet Ludwig Uhland (1788-1862); the title poem for the third is Olied,so land du lieder kannst by Freiligrath. The three "Love Dreams" are in the nocturne genre, and the third one is particularly famous. The original song, composed in 1845, is a lyrical song "sung" on the piano, with a deep, melodic music that captures the mood of Freiligrath's poem: "Love, love as long as you can, and may it be as long as you want.　Love, love as long as you can, love as long as you will, love as long as you will, love as long as you will, love as long as you will, love as long as you will.　The hour is coming when thou shalt mourn at thy grave.　Thy heart must always remain hot and fond,?　As long as there is a heart that returns warmth to you.　As long as someone discloses his sincerity to you, you must do all you can to teach him to be happy all the time, without a moment's thought.　Teach him to be happy at all times, and not to be sad for a moment!　And may you keep your mouth shut: harsh words are apt to hurt.?　O God - there was no malice in it -? Yet some part with tears.

4:Mozart: Piano Concerto No. 21The whole piece*** is divided into three movements: First movement, Allegro, C major, 4/4 time, sonata form. The first theme opens with a march-like tempo and is very bright and colorful, and then the lead piano and the introduction come in at the same time, presenting the first theme again. The second theme of the movement is interesting, and the piano displays splendid virtuosity.　The second movement, Allegro, F major, 2/2 time, is in the form of a three-part ballad. First, the strings with muted voices present the ballad-like theme, which is then reintroduced by the lead piano. The triplet rhythm that accompanies the theme is almost constant throughout the movement.　The third movement, a lively Allegro, is in C major in 2/4 time. The life-affirming first theme is repeated twice by the orchestra before the piano presents the theme again. In the middle of the movement, the orchestral accompaniment alternates constantly with the piano lead. The piano closes the piece magnificently with a mountain of rising scales.

5:Tchaikovsky: Piano Concerto No. 1 Tchaikovsky's Piano Concerto No. 1 is one of the most popular concertos, but for the grandeur of its conception and the scale of the work, it can be called a symphony for piano and orchestra. The work reflects the author's love of life and his ardent desire for light and joy, and its basic image is y national - the author quotes some genuine Ukrainian tunes here - while at the same time displaying with particular vividness some of the characteristics of the author's concerto, namely the combination of great power, grandeur of scale and sincere frankness of lyricism. The combination of great power, grandeur and lyrical sincerity. The richness of the work's ideological content and artistic image, the variety and antithesis of its themes, and the great strength inherent in the tensely developing musical ideas are all part of its exciting charm, and it is precisely these characteristics that have made the concerto so widely circulated during the author's lifetime, and it has been played by pianists of all kinds on the concert stages of various European and American countries from time to time. The author often included it in his own symphonic concert repertoire and conducted many performances of the work himself; in 1878, N. Rubinstein finally understood the merits and value of the work and played it with great distinction, thus also firmly establishing the work's place on the concert stage.

6:Brahms: Hungarian Dance No. 5 Brahms, the last of the German classical composers, was born in Hamburg, a musical family, is the composition and performance of the composer, Brahms and the Schumanns, Liszt and other Romantic musicians interacted with the Romantic musicians, and get their appreciation and support, some people compared Brahms's works to "mixed with the new wine of Romanticism, classicalism, the new wine of Romanticism". Brahms' works have been compared to "old classical wine mixed with new romantic wine".　Brahms's works have both classical methods and romantic spirit, and seldom use titles. His works are grand, but his writing style is fine, and his moods are varied, with a pastoral flavor. Many of his works are world-famous, and together with Bach and Beethoven he is known as the "Three B's" in the history of German music (note).　He composed a number of piano miniatures with variations on a theme and concertos, of which the Violin Concerto in D major is the most famous, and his Hungarian Dance No. 5 is a work of elegance and popularity***.　The Hungarian Dance No. 5, with free rhythm, various melodic decorations, intense tempo changes, and a certain improvisation, is the most widely known piece in Brahms' entire oeuvre, and at that time, he was quite interested in the gypsy music in Vienna, so he wrote down many gypsy melodies. In 1869, he began to publish "A Collection of Hungarian Dance Music", which was in fact mostly edited and organized by borrowing melodies from gypsy music.

7:Beethoven: Piano Sonata No. 14 "Moonlight" First movement, sustained slow movement, rising c minor, 2/2 time, three-part form. The first movement is a soft, fantastical, improvisational and lyrical piece in sonata form. In contrast to the traditional form of the piano sonata, Beethoven utilizes a slow movement in the first movement of the piece, with a gentle sadness in the slow melody.　The second movement, Allegro, is in D-flat major, 3/4 time, in triple meter. Beethoven in this movement, once again "the other way around", changing the traditional piano concerto has always been as a slow movement of the second movement, but took a very fast tempo, short and concise but beautiful melody and the first movement in sharp contrast. This movement plays a very obvious role of "carrying on from the first to the second", where the first movement and the third movement are perfectly connected.　The third movement, agitated Allegro, in ascending C minor, 4/4 time, sonata form. This movement has an exquisite structure with wonderful pianistic effects and full musical content. The stormy melody contains various complex piano techniques, expressing an indignant mood and high fighting spirit. Until the end of the piece, there is still a kind of "final impact" posture.

8: Chopin: "Heroic" Polish Dance The whole piece has a solemn and warm prelude to start, followed by a heroic theme of greatness, a slightly vicissitude of feelings is the style of the heroes The momentum of the stormy mountains, full of strength and enthusiasm in Chopin's works is rare. The piece continues to expand in the middle register, with a series of descending tones creating a magnificent and majestic effect, while the fervent emotions continue to roll around in the fingertips. The finale returns to the opening theme, more spirited, then fades, creating a hidden suspense, a resurgence of unresolved emotions, creating a stone-cold effect. The end of the performance, an afterglow but a long time to echo, that is Chopin to the motherland inexhaustible, lingering mournful thoughts. It can be said that through the magnificent dance music, Chopin poured out his full-blooded patriotic fervor, and also brought the possibility of music into a whole new realm.

9:Mozart: Piano Concerto No. 8

10:Saint-Sa?ns: Piano Sonata No. 2 1. A very slow movement, beginning with a moaning very slow movement, followed by the first theme played at double speed. This first theme remains emotionally disturbed until the second theme appears and then tends to be quiet. But the quiet second theme is immediately agitated. The ending is so gloomy and disturbing that it does not bring about an atmosphere of serenity, or a sense that the drama is over, but rather an eager anticipation of the events that will take place in the future.　2. The harmonic, with its gloomy beginning, is like a feeling of low clouds and howling winds. After the tempo slows down, there is a heavenly sweetness. At the end of the harmonic, the low octave percussion in the bass register also suggests that the hope of light has been lost ...... 3. Adagio, funeral march. Composed by Chopin in 1837 to mourn the loss of his country, this march opens with an expression of the funeral procession going out and the low tolling of the funeral bells. In the middle, there is a serene passage of consolation from God with the lyricism of "vague memories", and then the funeral procession is repeated until it is far away, leaving a blank space.　4. Rush Hour. Schumann commented, "This is a non-melodic, joyless movement, like a strong hand repressing the rebellious soul, so that the ghost of that particular horror speaks to us." The ending "ends with a smile as if fooled by a sphinx." Chopin called for this movement to be "played in unison by the left hand and the right hand in seven or eight unison. "Nichols comments on this movement, "After the funeral service, there were two or three neighbors over there talking about the late man's character, with no malicious criticism, but only good-natured praise." Clark, on the other hand, thought it was "like an autumn wind blowing away the dead leaves and floating them down on the new grave."