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Komponist: Chopin, Frédéric (1810-1849)

Veranstaltungen zu klassischer Musik, Oper, Ballett und Tanz finden | Chopin
Juli 2019

LondonRhapsody in Blue by Candlelight

Rhapsody in Blue by Candlelight
Beethoven, Schubert, Grieg, Liszt, Debussy, Chopin, Rachmaninow, Gershwin
Warren Mailley-Smith, Klavier

RigaPianist Lukas Geniušas solo concert

Pianist Lukas Geniušas solo concert
Chopin, Prokofjew, Desyatnikov
Lukas Geniušas, Klavier

SeattleDvorak, Chopin, and Rachmaninov

© Ken Dundas Photography
Dvořák, Chopin, Rachmaninow
Erin Keefe; Augustin Hadelich; Richard Yongjae O'Neill; Edward Arron

New York CityA Little Night Music: Kian Soltani

Vali, Chopin, Schumann, Soltani, Popper
Kian Soltani; Julio Elizalde

LondonLunchtime Recital - Lewis Kesterton (piano)

Lunchtime Recital - Lewis Kesterton (piano)
Chopin, Bach, Ireland
Lewis Kesterton, Klavier
Neue Kritikenmehr...

Auf der Suche nach einem adäquaten Klang: Krystian Zimerman in Berlin

Krystian Zimerman © Bartek Barczyk | Deutsche Grammophon
Krystian Zimerman zeigt eine gnadenlose Interpretation von Brahms und Chopin.

Ein Gespür für die Partitur: Kent Nagano in München

Kent Nagano © Felix Broede
Bei seiner Abschiedstournee mit dem Orchestre symphonique de Montréal zeigt Nagano nuancenreiche Interpretationen.

Verborgene Genies: Sergei Babayan in München

Sergei Babayan © Marco Borggreve
Sergei Babayan sucht das Verborgende und begeistert mit einem kreativen Programm des Münchner Publikum.

Ravels verspielte Klangwelten mit Alice Sara Ott

Alice Sara Ott © Esther Haase | Deutsche Grammophon
Santtu-Matias Rouvali und die Göteborger Symphoniker erkunden hingegen die dunklen Klänge Sibelius'.

Jungstars brillieren in enttäuschendem Konzert der Zürcher Symphoniker

Anastasia Kobekina © Evgeny Evtyukhov
Anastasia Kobekina präsentiert sich als gefestigte, überzeugende musikalische Persönlichkeit, während das Orchester an der Grenze der Überforderung arbeitet.

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

12 Etudes, Op.1012 Etüden, Op.252 Mazurkas2 Nocturnes, Op.2724 Preludes24 Preludes, Op.28Allegro de Concert, A major, Op.46Andante spianato et Grande Polonaise brillante, Op.22Ballade Nr. 1 in g-Moll, Op.23Ballade Nr. 2 in F-Dur, Op.38Ballade Nr. 3 in As-Dur, Op.47Ballade Nr. 4 in f-Moll, Op.52Barcarolle Fis-Dur, Op. 60Berceuse in D flat major, Op.57Bolero, Op.19Complete 4 Ballades Op.23, Op.38, Op.47, Op.52Dances at a GatheringEtude in A flat major, Op.25 no.1Etude in A minor, Op.10 no.2Etude in C major, Op.10 no.1Etude in C minor "Revolutionary" , Op.10 no.12Etude in C sharp minor "Torrent", Op.10 no.4Etude in G flat major, Op.10 no.5Fantasia in A major on Polish Airs, Op.13Fantasy in F minor, Op.49Four Mazurkas, Op.24Fugue in A minor, KK14 c/2Grandes Valses Brillantes, Op.34Impromptu Fantasie in C sharp minor, Op.66Impromptu in A flat major, Op.29Impromptu in F sharp major, Op.36Introduktion und Polonaise Brillante C-Dur für Cello und Klavier, Op.3Klavierkonzert Nr. 1 in e-Moll, Op.11Klavierkonzert Nr. 2 in f-Moll, Op.21Klavierkonzert Nr. 2 in f-Moll, Op.21: LarghettoKlaviersonate Nr. 2 b-Moll, Op.35Klaviersonate Nr. 3 in h-Moll, Op.58La Dame aux caméliasMazurka a-Moll, Op.17 Nr. 4Mazurka in A flat major, Op.41 no.4Mazurka in A minor, Op.67 no.4Mazurka in A minor, Op.68 no.2Mazurka in B flat Major (1832)Mazurka in B flat major (1836)Mazurka in B flat minor, Op.24 no.4Mazurka in B flat minor, Op.7 no.1Mazurka in B minor, Op.30 no.2Mazurka in B minor, Op.33 no.4Mazurka in C major, Op.24 no.2Mazurka in C major, Op.56 no.2Mazurka in C major, Op.67 no.3Mazurka in C minor, Op.30 no.1Mazurka in C sharp minor, Op.6 no.2Mazurka in C sharp minor, Op.63 no.3Mazurka in D major, Op.33 no.2Mazurka in E flat minor, Op.6 no.4Mazurka in G minor, Op.67 no.2Mazurka in f-Moll, Op.7 Nr.3Mazurka in fis-Moll, Op.6 Nr.1Mazurka in fis-Moll, Op.63 Nr.2Mazurka in fis-Moll, Op.68 Nr.3MazurkasMazurkas, Op.68Nocturne Nr. 1 b-Moll, Op.9 Nr.1Nocturne Nr. 13 in c-Moll, Op.48 Nr.1Nocturne Nr. 16 in Es-Dur, Op.55 Nr.2Nocturne Nr. 17 H-Dur, Op.62 Nr.1Nocturne Nr. 19 in e-Moll, Op.72 Nr.1Nocturne Nr. 2 Es-Dur, Op.9 Nr.2Nocturne in C minor, KKIVb/8Nocturne in C sharp minor, "Lento Con Gran Espressione", Op. posth, B 49Nocturne in C sharp minor, KKIVa No.16Nocturne no. 18 in E major, Op.62 no.2Nocturne no. 2 in E flat major, Op.9 no.2Nocturne no. 20 en do dièse mineur, Op. posthumeNocturne no. 21 in C minor (posthumous)Nocturne no. 3 in B major, Op.9 no.3Nocturne no. 4 in F major, Op.15 no.1Nocturne no. 7 in C sharp minor, Op.27 no.1Nocturne no. 9 in B major, Op.32 no.1Nocturnes, Op.9Polonaise Brillante, Op.3Polonaise Nr. 5 fis-Moll, Op.44Polonaise Nr. 7 in As-Dur "Polonaise-Fantaisie", Op.61Polonaise no. 1 in C sharp minor, Op.26 no.1Polonaise no. 2 in E flat minor, Op.26 no.2Polonaise no. 3 in A major "Military", Op.40 no.1Polonaise no. 4 in C minor, Op.40 no.2Polonaise no. 6 in A flat major, "Heroic," Op.53Prelude in A flat major, (Presto con leggerezza), Op. posthPrelude in A flat major, Op.28 no.17Prelude in A major, Op.28 no.7Prelude in C sharp minor, Op.45Prelude in D minor, Op.28 no.24Prelude in E minor, Op.28 no.4Rondo in C major for 2 pianos, Op.73Rondo à la Mazur in F major, Op.5Scherzo Nr. 1 in h-Moll, Op.20Scherzo Nr. 2 in b-Moll, Op.31Scherzo Nr. 3 in cis-Moll, Op.39Scherzo Nr. 4 in Es-Dur, Op.54Sliczny chlopiec (the handsome lad) in D major, Op.74 no.8Sonate in g-Moll für Klavier und Cello, Op.65Tarantella in A flat major, Op.43Three Mazurkas, Op.59Trio in G minor for piano, violin and cello, Op.8Two Nocturnes, Op.55Two Nocturnes, Op.62Variations 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. 10 in B minor, Op.69 no.2Waltz no. 7 in C sharp minor, Op.64 no.2Waltzes, Op.69Walzer a-Moll "Grande Valse Brillante", Op.34 Nr. 2Wiosna (spring song) in G minor, Op.74 no.2Zyczenie (a young girl's wish) in G major, Op.74 no.1