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Joined: Mar 2013
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If by "chills" you mean "goosebumps", and if your search is not restricted to piano pieces, then I can think of two pieces right now where the endings give me goosebumps sometimes.
F.Schubert - Symphony b minor "unfinished", first movement
L.v.Beethoven - Violin concerto D major op.61, third movement
My grand piano is a Yamaha C2 SG.
My other Yamaha is an XMAX 300.
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... the ending of the first movement of Mahler's 2nd... With respect to non-piano works, the overwhelming finale to Mahler's 2nd gets my vote also.
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Schubert:
the andante of the op. 100 trio;
"Der Erlkonig": "das kind war tot"
Crumb:
"Todas las tardes se muere un nino en Granada" from Ancient Voices of Children
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the end of the Kreisleriana
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Rachmaninoff's B minor Prelude.
It's a different sort of chill, but the last part of The Art of Fugue gets to me as well.
Beethoven - Piano Sonata, op. 101
Bartok - Piano Sonata
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Joined: May 2010
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My head is in Tombeau de Couperin at the moment, so I'm biased, but I think the end of the Prelude is very bone chilling. I always imagined the end of the prelude to just be a sort of "peaceful restlessness", where the rustling tremolo just fades into a solid chord. I've loved the whole suite because it seems to be very joyous, in that French "I'm happy but not really" sort of professional, descriptive manner. The only "sad" parts for me are the sort of regretful-sounding sections in the minuet.
Working on:
Chopin - Nocturne op. 48 no.1
Debussy - Images Book II
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I'm defining bone-chilling as terrifying and intesnse.
- Scarbo, of course
- End of Ginastera 1st Sonata, 1st movement (one of the most intense passages of music I've ever heard)
- Kapustin: End of 4th movement of 1st sonata.
- End of 4th Ballade
- End of Appasionata 4th movement.
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My head is in Tombeau de Couperin at the moment, so I'm biased, but I think the end of the Prelude is very bone chilling. I always imagined the end of the prelude to just be a sort of "peaceful restlessness", where the rustling tremolo just fades into a solid chord. I've loved the whole suite because it seems to be very joyous, in that French "I'm happy but not really" sort of professional, descriptive manner. The only "sad" parts for me are the sort of regretful-sounding sections in the minuet. Well, Tombeau is a war piece, in memoriam of friends killed in war, so that has to be taken into account. But it's ambiguous and there are definitely ways to play it with more joyful or more tragic shadings. For me the Prelude is like the wind over deserted trenches, while trying to call up a memory of a time back when everything was good. I was recently at a memorial service for an extremely happy Irish-American man, which was more party than memorial service, except there were a few very poignant moments. That's now what I think about for the Rigaudon.
Heather Reichgott, piano
Working on:
Mel (Mélanie) Bonis - Sevillana, La cathédrale blessée
William Grant Still - Three Visions
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Joined: May 2010
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My head is in Tombeau de Couperin at the moment, so I'm biased, but I think the end of the Prelude is very bone chilling. I always imagined the end of the prelude to just be a sort of "peaceful restlessness", where the rustling tremolo just fades into a solid chord. I've loved the whole suite because it seems to be very joyous, in that French "I'm happy but not really" sort of professional, descriptive manner. The only "sad" parts for me are the sort of regretful-sounding sections in the minuet. Well, Tombeau is a war piece, in memoriam of friends killed in war, so that has to be taken into account. But it's ambiguous and there are definitely ways to play it with more joyful or more tragic shadings. For me the Prelude is like the wind over deserted trenches, while trying to call up a memory of a time back when everything was good. I was recently at a memorial service for an extremely happy Irish-American man, which was more party than memorial service, except there were a few very poignant moments. That's now what I think about for the Rigaudon. Your point is true, though I think the lightheartedness was probably done on purpose - in any case our interpretations will differ! Here is a snippet from the wikipedia page regarding the composition: Despite the devastation Ravel felt both after the death of his mother in 1917 and of his friends in the First World War, Le tombeau de Couperin retains a light-hearted flavour. When criticised for composing a light-hearted, and sometimes reflective work rather than a sombre one, for such a sombre topic, Ravel replied: "The dead are sad enough, in their eternal silence."Which movement is your favourite??
Working on:
Chopin - Nocturne op. 48 no.1
Debussy - Images Book II
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A bit less of a piece than the monsters mentioned here, but I can't not mention the final trill to Chopin's Mazurka in A minor, post...especially the way Soklov plays is. It's like an icy wind, literally freezing one to death. It begins here at 3:44: https://www.youtube.com/watch?v=nMIVqLzpVJ4
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I think the lightheartedness was probably done on purpose - in any case our interpretations will differ! Of course! I'd say "the ambiguity was done on purpose" but maybe we are not so different. Which movement is your favourite?? I've spent the most time with the Prelude, Forlane and Rigaudon... so, I guess I'd answer the Prelude, Forlane and Rigaudon! They are all so good.
Heather Reichgott, piano
Working on:
Mel (Mélanie) Bonis - Sevillana, La cathédrale blessée
William Grant Still - Three Visions
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The first piano piece that came to my mind was Brahms Ballade in D minor, Op 10/1.
It's an interesting question, depending on what "bone-chilling" means. I don't think that classical music is very good at doing scary. But it can certainly do cold, and sometimes the coldness has something disturbing or uncanny about it.
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Does it have to be only endings? I can't think of anything more bone chilling than the second movement of Ligeti's piano concerto. If you give it one listen you'll notice which part I'm refering to...
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