It is easy to think of these works as standing in isolation, without contemporary equivalents. Op 11 has a lengthy orchestral exposition twice as long as that of Op 21 marked Allegro maestoso. The touching second subject is archetypal Chopin and its first appearance a moment of exquisite beauty. The second movement, labelled Romanza, consists of a yearning nocturne-like theme in E major contrasted with a second subject in B major.
He was still working on the Concerto when he wrote a letter dated 15 May in which he described his thoughts about this movement. It is a sort of meditation in beautiful spring weather, but by moonlight. That is why I have muted the accompaniment. It was the last concert he gave before leaving Poland for good. The event was a sell-out people, his largest audience to date and was so successful that a second concert was arranged for 22 March. The Adagio and Rondo had more effect; one heard some spontaneous shouts.
A vivacious Hummelesque rondo concludes the work with some imaginative touches, such as the second subject being underscored by the violins playing col legno i. Works for piano and orchestra Chopin composed his first work for piano and orchestra during the second half of and early After a slow, brilliantly decorated introduction and the statement of the theme, Chopin follows a fairly standard pattern for variation sets from this period, leading off with one played in triplets followed by a moto perpetuo.
Variation 3 requires an agile left hand, No 4 is a sequence of leaping figures for both hands, the fifth an Adagio in B flat minor and the finale Alla Polacca. A genius. When I finished, they clapped so much that I had to come out and bow a second time.
His second concertante work followed swiftly, this time using a selection of national folk tunes for his material. He was clearly fond of the work and kept it in his repertoire for many years despite the incidental contribution of the orchestra and the somewhat clumsy welding together of the different sections. All eyes are on the soloist.
Like its predecessors, it is a sparkling display piece though here the orchestral role is more telling. Though he played it frequently after its composition, Chopin seems never to have returned to it after leaving Poland. The polonaise section of the Andante spianato and Grande Polonaise in E flat major Op 22 was composed in Vienna in shortly before his arrival in Paris. Perhaps tiring of the glittering stile brillante, he set it aside until he had the inspired idea of prefacing it with a work of an altogether different character that he composed in Chamber music While there is no composition that does not involve the piano, the cello is the only other instrument for which Chopin wrote any significant music.
His first effort was a polonaise written in when he was visiting the home of Prince Radziwill, governor of the Principality of Poznan and himself a composer and cellist of sorts. The following year he added an introduction, inspired by his friendship in Vienna with the cellist Joseph Merk. Czerny produced a piano solo version of the work and in the s an arrangement by Chopin himself was unearthed. It is a genial work in four movements Allegro con fuoco, Scherzo, Adagio sostenuto and an Allegretto finale but there is little of the interplay between the three instruments of the kind that makes the trios of Beethoven, Schubert and Hummel such a delight.
Composed in , it is one of only four Chopin works published in his lifetime without an opus number and the only one to be composed in collaboration, in this case with his friend the cellist Auguste Franchomme. Chopin was commissioned by his publisher Schlesinger to write this potpourri, a brilliantly executed display piece of the kind that was so popular in the salons of Paris at the time.
I throw it into a corner and then pick it up again. It was written when his health was failing and was the last one to be published during his lifetime. The four movements Allegro moderato, Scherzo, Largo and Allegro show how far Chopin had developed in his ability to form a closely integrated sonata structure, with ideas developing from a variety of short but related motifs.
This first movement clearly had some hidden significance for him. On his deathbed he asked Franchomme to play it but could not bear to hear more than the opening bars. Songs How ironic that someone who could make the piano sing like none before him should have attached so little importance to writing for the voice.
For though he wrote some thirty song settings between and , there is no evidence that Chopin ever intended any of them to be published, neither is there any record of him performing any of his songs in public. The songs fall into two categories: romantic and nationalistic. All are settings of Polish poems, most of them by contemporaries of his acquaintance.
Witwicki, a friend of the Chopin family, had a strong interest in folklore and Polish nationalism Chopin dedicated to him his Mazurkas Op Three texts are by the soldier-poet Bohdan Zaleski, whose folklore stylizations were based on Ukrainian songs and dances. According to Fontana, Chopin composed as many as ten or twelve settings of a collection of highly popular poems commemorating the November uprising of by Wincenty Pol.
It was a favourite of Katarzyna Sowinska, the German-born wife of General Sowinski, who was to achieve fame after the Polish uprising, and it was she who persuaded her young friend to write a set of variations. Chopin did so, albeit reluctantly, dashing off the piece, legend has it, in under an hour.
Chopin never wrote for the flute again if he did at all , and perhaps we can see why. We could take the Funeral March in C minor Op 72 No 2 from as a sketch for the famous funeral march from the Sonata No 2 in B flat minor written a decade later. In stark contrast comes the lively Bolero Op 19 , though this has little to do with the Spanish national dance.
Many commentators pour scorn on it, but it is an effective and sparkling display piece well up to contemporary standards of tasteful superficiality. Most remarkable is that anyone could take such a dull theme and make it so entertaining. Several unimportant miniatures, no more than sketches, add little to our understanding of the composer: the Contredanse in G flat major , published , Cantabile in B flat major , published , Largo in E flat major , Fugue in A minor , which sounds like a parody of Bach, and Albumblatt in E major In , the Princess Belgiojoso persuaded Liszt to assemble a set of variations on an operatic theme, one variation each to be written by his pianist friends.
Five of them contrived to outdo each other in outlandish difficulty—but not Chopin. His Variation No 6—Liszt shrewdly placed it last in the running order before his own flashy finale—is a quiet, reflective nocturne in E major all the other variations are in A flat major. A further minor piece—a delightful one, nevertheless—is the Tarantelle in A flat major Op 43, composed during that happy and productive period at Nohant in It is a decidedly Polish take on the Italian dance form.
From the same year comes the substantial Allegro de concert in A major, Op This is the complete first movement of an abandoned third piano concerto which Chopin commenced in Vienna in When he tired of writing works for piano and orchestra, he set it aside, returning to it at Nohant and issuing it in a revised and extended form.
Extremely demanding to play, it is unique in combining the piano style of the early concertos with that of the mature Chopin. Also composed in Nohant in the productive year of was the Fantasy in F minor Op 49, a work that is not so far removed from the Ballades in form and certainly not in quality.
The triple time common to all the Ballades is here replaced by common time but the feeling of an underlying unstated narrative persists in the same way. Among its varied themes and moods, all tinged with melancholy, perhaps no part of the work quite surpasses the magical moment roughly halfway through at 7'17 when the turbulent emotions give way to the serene beauty of a melody in B major.
These twenty-four bars of reverie are broken with a dramatic sforzando and a repeat of former themes, rather like the end of the Lento section of the B minor Scherzo. The Berceuse, probably inspired by the small daughter of the singer Pauline Viardot who was left at Nohant to be cared for by Chopin and George Sand while Viardot was on tour, is a lullaby whose simple rocking figure remains unaltered throughout its entire course.
Every bar begins with the same low D flat and, except for two bars towards the end, gently alternates between tonic and dominant harmonies while the right hand traces delicate filigree figures above it. The piece ends with four fortissimo octaves as though Chopin was snapping us out of our dream world and back to reality. Sonates pour piano Chopin signa quatre sonates—trois pour piano et une pour piano et violoncelle. Le Rondo en ut majeur op.
Les scintillantes pages conclusives de cet op. Les trois Polonaises op. Les deux Polonaises op. Deux autres Nocturnes op. Avec le Nocturne en ut mineur op. Le Nocturne op. Cet op. Les deux derniers Nocturnes op. Seules huit de ses vingt valses parurent de son vivant: les deux Valses op. En , Schumann accueillit ainsi les trois Valses op. Une guirlande de fleurs serpentant parmi les couples de danseurs!
Il arrive que la chronologie de leur composition soit incertaine. Pour faire court, les neuf mazurkas des opp. Quant aux huit mazurkas des opp. Ce fut son dernier concert en Pologne.
Le Trio avec piano en sol mineur op. Je la jette dans un coin et puis je la reprends. Deux ans plus tard survinrent les trois Ecossaises op. Le substantiel Allegro de concert en la majeur op. Drittens ist, ungeachtet ihrer Form, jede einzelne Komposition, die er schrieb, mit dem Klavier verbunden.
Die Klaviersonate Nr. Es gibt keine Kritiken oder Berichte, ob sie im Im Gegensatz dazu ist die Klaviersonate Nr. Es folgt ein kurzes Scherzo mit einem sanglichen Mittelteil als Kontrast. So ist z. Die Preludes Wenn man es ganz prosaisch beschreibt, sind die Preludes op. Man kann hier wie in manchen der Preludes op. Im h-Moll-Prelude z. Das letzte Prelude wurde am Januar vollendet. Viele Preludes haben anschauliche Bezeichnungen bekommen.
Die Rondos Chopin schrieb vier Rondos. Die Rondoform war zu Anfang des Die Mazurka war lebenslang die Form, der Chopin seine privatesten Gedanken anvertraute. Das Rondo C-Dur op. Man findet dort nichts von der spezifischen Handschrift und Harmonik aus op. Auch im spritzigen Rondothema selbst konnte sich Chopin nicht ganz dem Einfluss von Weber entziehen. Tarantelle in A flat op.
Polonaise n. Piano Concerto No. Maestoso ; 2. Larghetto ; 3. Allegro Vivace Grande Polonaise brillante in Eb major, Op. Berceuse In D Flat Op. New Mastering by AB in Label : EMI Warner. There are no reviews yet. Piano Society. The list below is an attempt to complete the list of Chopin's compositions, genre by genre. For each genre, the opus number, key of the work and composition year together with possible necessary additional information are included.
The opus number 1 to 65 was published during the lifetime of Chopin. On his deathbed, he asked that all his unpublished manuscripts to be destroyed, but that wish was not honored, and in his mother and sisters asked Julian Fontana, Chopin's friend and amanuensis, to select from among them works that he considered worthy and edit them for publication.
He selected twenty-three piano pieces, which he grouped into eight opus numbers Op. These works were published in The unnumbered posthumous works were discovered and published by different organisations and persons after the date of My list gives a total number of which is more than offical lists.
The reason is that I include works produces from weak sketches that have been published in very recent time. Works that are unknown to the majority of people. Feel free to contant me at robert at pianosociety. Ballades 4 Chopin's Ballades represents the highest art of music and are undoubtedly among his most important works. I remember an old book I read where the writers friend during a meeting with fellow lovers of Chopin's music spontaneously called out "All Beethoven's Sonatas for another Chopin Ballade".
That should say it all. Chopin's first Ballade took him a great effort to produce and occupied him, on and off, for two years. In Chopin's Ballades, control and deployment of passion in their combination of immediacy and inner logic show us not once but repeatedly how art derives order from chaos. Ballade no. It reveales his youths ambitions to compete with these days composers in every important genre.
Soon he realised that his destiny was aimed for piano compositions and with the exceptions for the piano concertos, the chamber work listed here and the 4:th Sonata in op. Chamber no. The creative stimulus is the individually shaped hand, with its arrangement of muscles and tendons. In essence, it is the mechanical difficulty that directly produces the music, its charm and its pathos. Etude no. But when you play them like the greatest music in the world it's hard not to believe that the music actually is the greatest in the world, or in any event so fine as to make no difference.
Impromptu no. Chopin did, of course, not invent the Mazurka form. Mazurka in B flat Mazurka in D Mazurka in D? Grave - Doppio movimento. Finale Presto. Allegro maestoso. Scherzo Molto vivace. Finale Presto non tanto. Fantaisie in F minor, Op. Minuetto Allegretto. Variations sur un air national allemand. Rondeau in C minor, Op. Ecossaise No.
Contredanse in G flat. Rondeau for 2 Pianos in C, Op. Souvenir de Paganini. Variations brillantes, Op. Rondeau in E flat, Op. Cantabile in B flat. Variations in E "Hexameron".
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