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Drapeau de Pologne

Compositeur: Chopin, Fryderyk Franciszek (1810-1849)

Rechercher des événements de musique classique, opéra et ballet | Chopin
mai 2020
Événements à venirEn voir plus...

StockholmVive La France!

Chopin, Dutilleux, Ravel
Swedish Radio Symphony Orchestra; Jukka-Pekka Saraste; Nikolai Lugansky

La CoruñaElgar, Chopin, Shostakovich

Elgar, Chopin, Shostakovich
Elgar, Chopin, Chostakovitch
Orquesta Sinfónica de Galicia; Víctor Pablo Pérez; Rafał Blechacz

MünchenLa Dame aux camélias

La Dame aux camélias
Chopin: La Dame aux camélias
John Neumeier; Bayerisches Staatsballett; Michael Schmidtsdorff; Jürgen Rose; Bayerisches Staatsorchester

LondresRhapsody in Blue by Candlelight

© Warren Mailley-Smith
Beethoven, Chopin, Liszt, Debussy, Rachmaninov, Gershwin
Warren Mailley-Smith, Piano

EdimbourgMoonlight Sonata by Candlelight

© Warren Mailley-Smith
Beethoven, Chopin, Liszt, Debussy, Rachmaninov, Gershwin
Warren Mailley-Smith, Piano
Critiques récentesEn voir plus...

Florent Boffard, maître de l'espace et du temps au Festival Présences

Florent Boffard © Jean-Baptiste Millot
Le pianiste emporte son auditoire dans un récital ensorcelant, avec cet effacement dans la présence qui est le secret des maîtres.

Le romantisme de Jan Lisiecki au Théâtre des Champs-Élysées

Jan Lisiecki © Christoph Köstlin / Deutsche Grammophon
Le pianiste canadien émerveille dans Bach avant de livrer un programme romantique libre et limpide.

La ligne et les couleurs : Jean-Philippe Collard au TCE

Jean-Philippe Collard © Seldy Cramer Artists
Retour sur le récital du pianiste français Jean-Philippe Collard au Théâtre des Champs-Élysées, constitué d'un programme autour de Chopin, d'un très grand Fauré et d'un Granados remarquable. 

Charles Richard-Hamelin enchante – encore ! – au Palais Montcalm

Charles Richard-Hamelin © Elizabeth Delage
Le pianiste Charles Richard-Hamelin a donné un récital gorgé de poésie au Palais Montcalm dans des œuvres de Rachmaninov, Prokofiev et Chopin. 

Martha Argerich et Antonio Pappano sous les auspices de sainte Cécile

Martha Argerich © Adriano Heitman
Triomphe pour Martha Argerich dans le Concerto n° 1 de Liszt. L'Orchestre de l'Académie nationale de Sainte-Cécile livre une leçon d'orchestre sous la direction d'Antonio Pappano.

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

Liste des oeuvres
12 Etudes, Op.1012 Etudes, Op.252 Nocturnes, Op.2724 Préludes, Op.283 Mazurkas, Op.593 Mazurkas, Op.633 Valses, Op.644 Ballades Op.23, Op.38, Op.47, Op.52A Month in the CountryAndante spianato et Grande Polonaise brillante, Op.22Ballade no. 1 en sol mineur, Op. 23Ballade no. 2 en fa majeur, Op. 38Ballade no. 3 en la bémol majeur, Op. 47Ballade no. 4 en fa mineur, Op. 52Barcarolle en fa dièse majeur, Op.60Berceuse en ré bémol majeur, Op.57Bolero, Op.19Concerto pour piano no. 1 en mi mineur, Op. 11Concerto pour piano no. 2 en fa mineur, Op. 21Dans la NuitEtude en sol bémol majeur, Op.10 no. 5Etude en sol mineur « Tierces », Op.25 no. 6Etude en ut dièse mineur « Torrent », Op.10 no. 4Etude en ut dièse mineur, Op.25 no. 7Etude en ut majeur, Op.10 no. 7Etude en ut mineur « Révolutionnaire », Op.10 no. 12Fantaisie-impromptu en ut dièse mineur, Op.66Fantasie en fa mineur, Op.49Impromptu en fa dièse majeur, Op.36Impromptu en la bémol majeur, Op.29Impromptu en sol bémol majeur, Op.51Introduction et Polonaise Brillante en ut majeur pour violoncelle et piano, Op.3La Dame aux caméliasMazurka en fa dièse mineur, Op.59 no. 3Mazurka en la bémol majeur, Op.50 no. 2Mazurka en la bémol majeur, Op.59 no. 2Mazurka en la mineur, Op.17 no. 4Mazurka en la mineur, Op.59 no. 1Mazurka en la mineur, Op.68 no. 2Mazurka en la mineur, Op.7 no. 2Mazurka en si bémol mineur, Op.24 no. 4Mazurka en ut dièse mineur, Op.63 no. 3Mazurka en ut majeur, Op.56 no. 2Mazurkas, Op.68NocturneNocturne Op. 55 Nr. 2Nocturne en ut dièse mineur, « Lento Con Gran Espressione », Op.posthNocturne en ut mineur, KKIVb/ 8Nocturne no. 10 en la bémol majeur, Op.32 no. 2Nocturne no. 12 en sol majeur, Op.37 no. 2Nocturne no. 13 en ut mineur, Op.48 no. 1Nocturne no. 15 en fa mineur, Op.55 no. 1Nocturne no. 16 en mi bémol majeur, Op.55 no. 2Nocturne no. 17 en si majeur, Op.62 no. 1Nocturne no. 18 en mi majeur, Op. 62 no. 2Nocturne no. 19 en mi mineur, Op.72 no. 1Nocturne no. 2 en mi bémol majeur, Op.9 no. 2Nocturne no. 20 en do dièse mineur, Op. posthumeNocturne no. 21 en ut mineur (posthume)Nocturne no. 3 en si majeur, Op.9 no. 3Nocturne no. 4 en fa majeur, Op.15 no. 1Nocturne no. 5 en fa dièse majeur, Op.15 no. 2Nocturne no. 9 en si majeur, Op.32 no. 1Polonaise no. 1 en ut dièse mineur, Op.26 no. 1Polonaise no. 5 en fa dièse mineur, Op.44Polonaise no. 6 en la bémol majeur, « Héroïque » Op.53Polonaise no. 7 en la bémol majeur « Polonaise- fantaisie », Op.61Polonaises, Op.26Prélude en la bémol majeur, (Presto con leggerezza), Op.posthPrélude en mi mineur, Op.28 no. 4Prélude en ut dièse mineur, Op.45PréludesRondo en mi bémol majeur, Op.16Rondo à la Krakoviak en fa majeur pour piano et orchestre, Op.14Scherzo no. 1 en si mineur, Op.20Scherzo no. 2 en si bémol mineur, Op.31Scherzo no. 3 en ut dièse mineur, Op.39Scherzo no. 4 en mi majeur, Op.54Sonate en sol mineur pour piano et violoncelle, Op.65Sonate pour piano no. 2 en si bémol mineur (marche funèbre), Op. 35Sonate pour piano no. 3 en si mineur, Op.58Trio en sol mineur pour piano, violon et violoncelle, Op.8Valse en fa majeur « Grande Valse Brillante », Op.34 no. 3Valse en la mineur « Grande Valse Brillante », Op.34 no. 2Valse no. 9 en la bémol majeur « L'Adieu », Op.69 no. 1