Abram Chasins plays Chopin (This is Digital Item)
01. Scherzo No.3 in C# minor, Op.39 7'28"
02. Impromptu No.2 in F#, Op.36 5'39"
03. Ballade No.3 in A-flat, Op.47 7'17"
04. Polonaise No.6 in A-flat, Op.53 6'47"
05. Fantasie in F minor, Op.49 12'42"
TOTAL TIME : 40'13"
(Recorded 1950s from KAPP RECORS 33rpms)
This is Digital Item
(Format : 16bit/44.1khz wav files & 2 Jacket jpeg files）
Born in Manhattan, New York. He studied piano with Josef Hofmann and Ernest Hutcheson, composition with Rubin Goldmark, music analysis with Donald Tovey. In 1949 he married Constance Keene (reissued SKRP33009) .
Recorded HMV 78rpms (his own pieces).
Also KAPP, MGM Label LPs (Bach, Mozart, Brahms, Chopin ... etc) and piano duo with Constance Keene. Published books “Speaking of Pianists”, “The Van Clibern Legend”.
Concerning the Music by ABRAM CHASINS
Very little lights has been shed on musical from by theorists who conceive external shapes of compositions as set molds statistical view of classical forms and of Chopin’s procedures in his sonatas and concertos has not failed to recognize Chopin’s structuarl precision in the rest of his works.
This is not to admit that Chopin could not conquer large forms. At least eight unassailable movements exist among the fourteen that comprise his mature, large-scale compositions, and many more large organism are also to be found among those works entitled Polonaise, Ballade, Scherzo and Fantasie, raise enormously emotional issues, despite their designs that complete themselves within a dozen minutes.
Unlike Berlioz, Liszt and Wagner, Chopin waged no struggle to create a new time-scale or to illustrate literary ideals in operatic or symphonic music. Chopin was the “absolutist” of the romantic movement, who remained aloof from its philosophic and pictorial influences and who devoted himself most exclusively to the piano. He was also the poignant romanticist who dreamt new wonders of harmony and keyboard sonority, who nurtured a lifelong fantasy that his work might be judged by Bach, and who frequently expressed the hope that Mozart’s Requiem would be sung at his funeral Mass.
No wonder then, through contrary to popular belief, that Chopin’s compositional style shows a schematic severity more rigid and regular than one finds anywhere else except in Bach, and that his fastidious performance style and pedagogical precepts reflect exactry the classical ideals of playing as set forth in countless 18th Century treatises. But Chopin’s individuality was not anything that the past could supply, and its unique development set him apart from all other composers.
妻であるConstance Keene (SKRP 33009) とのピアノデュオのレコードも残している。
(フォーマット: 16bit/44.1Khz wav files, 1950年代モノラル録音)