This is an analysis report of the "Chen Wang Piano Recital." In the first half, the theme was "Polonaise," selecting representative composers and their characteristic Polonaise pieces from three different periods: the Baroque period (1600-1750), the Classical period (1750-1825), and the Romantic period (1820-1900). The intention was to provide the audience with a sense of the stylistic differences of this genre across different eras. The second half focused on "Atypical Sonatas," choosing two sonatas that are stylistically distinct and break away from traditional norms. These sonatas served as highlights of the concert, allowing the audience to experience different musical styles from various periods and making the entire concert more rich and complete.

This article is structured into four parts. The first part discusses the conceptual planning of the repertoire, elucidating the design and selection principles for the concert. The second part focuses on the analysis and interpretation of the musical pieces, exploring the biographies of the composers, the background of the compositions, and providing a musical analysis for each piece. It also presents insights into the interpretation of the performances. The third part comprises the reference materials used in this article, including both domestic and foreign literature, academic papers, editions of sheet music, and online resources. The fourth part serves as an appendix, featuring the program booklet for the concert.

The program of this Piano Recital:

J. S. Bach (1685-1750): French Suite No. 6 in E Major, BWV 817, Polonaise

L. v. Beethoven (1770-1827): Polonaise in C Major, op. 89

F. Chopin (1810-1849): Andante Spianato and Grande Polonaise Brillante, op. 22

~INTERMISSION~

L. v. Beethoven (1770-1827): Piano Sonata No. 18 in Eb Major, op. 31, no. 3

S. Prokofiev (1891-1953): Piano Sonata No. 3 in A Minor, op. 28