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Drapeau de Pologne

Compositeur: Chopin, Fryderyk Franciszek (1810-1849)

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

StockholmGrigory Sokolov recital

© Mary Slepkova/DG
Schumann, Chopin
Grigory Sokolov, Piano

PragueCamille Thomas and Lukáš Klánský

Czech Philharmonic
Mendelssohn, Brahms, Chopin, Messiaen, Franck
Camille Thomas; Lukáš Klánský

LondresKhatia Buniatishvili in recital

Bach, Liszt, Brahms, Chopin, Prokofiev
Khatia Buniatishvili, Piano

StockholmIngrid Fliter recital

Stockholms Konserthusstiftelse
Ingrid Fliter, Piano

LondresEvgeny Kissin in recital

Chopin, Berg, Khrennikov, Gershwin
Evgeny Kissin, Piano
Critiques récentesEn voir plus...

Jean-Paul Gasparian à Cortot, sublime interprète de Rachmaninov

Jean-Paul Gasparian © Pierre-Anthony Allard
Au mitant de sa vingtaine, Gasparian montre au public de la Salle Cortot qu'il est un pianiste déjà phénoménal... Il lui reste à devenir fabuleux.

Rentrée sur la pointe des pieds pour les Etoiles de l’Opéra de Paris

Hugo Marchand et Ludmila Pagliero dans Trois Gnossiennes © Svetlana Loboff / Opéra national de Paris
Malgré quelques temps forts, en particulier la reprise brillante de Herman Schmerman, la soirée « Etoiles de l’Opéra » laisse un avant-goût mitigé sur l'avant-scène du Palais Garnier.

Le 5e anniversaire de Muse&Piano au Louvre-Lens : acte II

Luis Fernando Pérez © Frédéric Iovino
Deuxième jour au Festival Muse&Piano du musée nordiste où, de Clément Lefebvre le matin à Luis Fernando Pérez le soir, d'extraordinaires interprétations ont été livrées par des artistes en état de grâce.

Le 5e anniversaire de Muse&Piano au Louvre-Lens : acte I

Anne Queffélec © Frédéric Iovino
Formidable première journée au Festival Muse&Piano dans le Pas-de-Calais, avec de mémorables récitals de Florian Noack, Sélim Mazari, Gaspard Dehaene et Anne Queffélec.

Claire Désert dans la lumière dorée de septembre

Claire Désert © Alain Hanel
Dans la petite église de Neuville-Bosc, la pianiste a interprété un programme magnifiquement agencé, de Beethoven à Liszt en passant par Chopin et Schumann.

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.102 Nocturnes, Op.2724 Préludes, Op.283 Mazurkas, Op.593 Mazurkas, Op.63A Month in the CountryAndante spianato et Grande Polonaise brillante, Op.22Ballade no. 1 en sol mineur, Op. 23Ballade 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.57Concerto pour piano no. 1 en mi mineur, Op. 11Concerto pour piano no. 2 en fa mineur, Op. 21Fantasie 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 mineur, Op.63 no. 2Mazurka en la bémol majeur, Op.50 no. 2Mazurka en la mineur, Op.59 no. 1Mazurka 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 mineur, Op.56 no. 3Nocturne en ut dièse mineur, « Lento Con Gran Espressione », Op.posthNocturne no. 1 en si bémol mineur, Op.9 no. 1Nocturne no. 17 en si majeur, Op.62 no. 1Nocturne 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. 3 en si majeur, Op.9 no. 3Nocturne no. 8 en ré bémol majeur, Op.27 no. 2Nocturnes, Op.9Polonaise 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.61Prélude en mi mineur, Op.28 no. 4PréludesRondo en mi bémol majeur, Op.16Scherzo 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.58Valse en la mineur « Grande Valse Brillante », Op.34 no. 2Valse no. 10 en si mineur, Op.69 no. 2Valse no. 6 en ré bémol majeur « Valse-minute », Op.64 no. 1Valse no. 7 en ut dièse mineur, Op.64 no. 2Valse no. 9 en la bémol majeur « L'Adieu », Op.69 no. 1