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Composer: Chopin, Fryderyk Franciszek (1810-1849)

September 2017
Evening performance
Matinee performance
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RavelloFiorenzo Pascalucci piano recital

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AmsterdamMaster pianist Nelson Goerner: Schubert, Brahms and Chopin

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Delicate, refined, passionate, emotive, romantic. Many music lovers consider Chopin's piano works to be the very greatest of all music written for the instrument. It's certainly distinctive: you can listen to an awful lot of music from the same period and be in no doubt whatsoever when you hear Chopin. 

A large part of the effect comes from Chopin's talent for melody. In every generation, just a few composers have the talent for writing tune after tune that sticks in your memory as soon as you've heard it, and Chopin was certainly one of them. But what makes him special is his ability to wrap intricate tracery around his melodies and to surprise you repeatedly with shifts of key and rhythm while always putting across a feeling that every note is in the right place. Perhaps the best descriptions come from the Paris Revue Musicale, which described the 22-year old Chopin as a young man who had found “an extravagance of original ideas that are unexampled anywhere” and from Robert Schumann, who found in his music the sound of “cannon concealed amid blossoms”.

Chopin was a less versatile composer than most of the greats with whom he is frequently and fairly bracketed. There is a handful of chamber pieces and orchestral works and a few songs, none of them massively distinguished. Through and through, Chopin was a salon composer: he wrote piano music to be played in the living rooms of the rich. And within that compass, he was matchless.

Part of Chopin's unique sound comes from a unique background. Born Fryderyk Franciszek to a Frenchman settled in Poland, he became an ardent Polish nationalist Polishness and is treated as one of the great men of Polish history. By the time he was eleven, the young Chopin was already acclaimed as a great pianist and had played for the Tsar of Russia at the opening of the Polish parliament; at twenty, he set off to make his fortune in Western Europe. Just 27 days after he left, the Poles rebelled against the rule of Russia in the November uprising, a rebellion which was crushed the following year, leaving Chopin distraught and providing the creative impulse for one of his most famous works, the “Revolutionary” Etude (Op.10 no.12). He suffered from ill health throughout his life.

Chopin settled in Paris, where he became “Frédéric-François”, the name by which he is best known in English-speaking countries today, although he never learnt French perfectly. He enjoyed great concert success, but became aware that his style of playing was not suited to larger concert halls, preferring to play at his home or in salons, often on his much beloved Pleyel pianos.

In 1848, Chopin’s life was transformed by revolution once again, as the French nobility who formed his clientèle fled Paris, leaving him without income and in sharply deteriorated health. His last concert was in London in November that year: an ill-fated benefit concert for Polish refugees (no-one knows what was played since he could not be heard above the chatter of the social occasion). He died a year later in Paris, with his sister Ludwika, who had given him his first piano lessons, at his bedside.

Every lover of Chopin has their own favourite works and their own favourite performers: his music seems to lend itself to an extraordinary variety of performance styles, with endless argument possible about tempos, rubato, accenting and many other features of a performance.

Famous interpreters of the past include Artur Rubinstein, Vladimir Horowitz, Claudio Arrau and my personal favourite, the Romanian Dinu Lipatti. A “must have” play-list would include the Etudes, the Waltzes, the Preludes, the Ballades (a form that Chopin invented), and several of the Polonaises and Mazurkas. Also unforgettable are the Fantaisie-Impromptu in C sharp minor, Op. posth. 66, the Barcarolle in F sharp (a transcendent, lilting Venetian boating song) and the B flat minor Piano Sonata with its famous funeral march whose glorious gift is to uplift one’s spirits in the face of death.

David Karlin
18th December 2009

List of works
12 Etudes, Op.1012 Etudes, Op.252 Mazurkas2 Nocturnes, Op.272 Nocturnes, Op.482 Polonaises, Op.4024 Preludes, Op.283 Nouvelles études, Op.posth3 Waltzes, Op.643 Waltzes, Op.705 Mazurkas, Op.7Andante spianato et Grande Polonaise brillante, Op.22Ballade no. 1 in G minor, Op.23Ballade no. 2 in F major, Op.38Ballade no. 3 in A flat major, Op.47Ballade no. 4 in F minor, Op.52Barcarolle in F sharp major, Op.60Complete 4 Ballades Op.23, Op.38, Op.47, Op.52Duo Concertant in E major based on themes from Meyerbeer's "Robert le Diable"Etude in C minor "Revolutionary" , Op.10 no.12Etude in C sharp minor, Op.25 no.7Etude in E major "Tristesse", Op.10 no.3Etude in F minor, Op.10 no.9Etude in F minor, Op.25 no.2Fantasy in F minor, Op.49Four Mazurkas, Op.24Grandes Valses Brillantes, Op.34Impromptu Fantasie in C sharp minor, Op.66Impromptu in A flat major, Op.29Impromptu in F sharp major, Op.36Introduction and Polonaise Brillante in C major for cello and piano, Op.3Klavierkonzert Nr. 2 in f-Moll, Op.21: LarghettoLa Dame aux CaméliasMazurka in A minor, Op.17 no.4Mazurka in C major, Op.67 no.3Mazurka in C sharp minor, Op.50 no.3MazurkasMazurkas, Op.67Nocturne Op. 55 Nr. 2Nocturne in C sharp minor, Op. posthNocturne no. 13 in C minor, Op.48 no.1Nocturne no. 14 in F sharp minor, Op.48 no.2Nocturne no. 16 in E flat major, Op.55 no.2Nocturne no. 17 in B major, Op.62 no.1Nocturne no. 18 in E major, Op.62 no.2Nocturne no. 19 in E minor, Op.72 no.1Nocturne no. 2 in E flat major, Op.9 no.2Nocturne no. 4 in F major, Op.15 no.1Nocturne no. 7 in C sharp minor, Op.27 no.1Nocturne no. 8 in D flat major, Op.27 no.2Other DancesPiano Concerto no. 1 in E minor, Op.11Piano Concerto no. 2 in F minor, Op.21Piano Sonata no. 3 in B minor, Op.58Piano sonata no. 2 in B flat minor (funeral march), Op.35Polonaise no. 1 in C sharp minor, Op.26 no.1Polonaise no. 6 in A flat major, "Heroic," Op.53Polonaise no. 7 in A flat major "Polonaise-fantaisie", Op.61Prelude in B flat major, Op.28 no.21Prelude in E minor, Op.28 no.4Rondo à la Krakoviak in F major for piano and orchestra, Op.14Scherzo no. 1 in B minor, Op.20Scherzo no. 2 in B flat minor, Op.31Scherzo no. 4 in E major, Op.54Sonata in G minor for piano and cello, Op.65Three Mazurkas, Op.56Three Mazurkas, Op.59Trio in G minor for piano, violin and cello, Op.8Two Nocturnes, Op.55Variations brillantes in B flat major on "je vends des scapulaires", Op.12Variations in B flat major on "la ci darem la mano" for piano and orchestra, Op.2Waltz in A flat major "Valse Brillante", Op.34 no.1Waltz in F major "Grande Valse Brillante", Op.34 no.3Waltz no. 1 in E flat major "Grande Valse Brillante", Op.18Waltz no. 13 in D flat major, Op.70 no.3Waltz no. 14 in E minor (posthumous)Waltz no. 5 in A flat major, Op.42Waltz no. 7 in C sharp minor, Op.64 no.2