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Compositeur: Chopin, Fryderyk Franciszek (1810-1849)

février 2018
Spectacles à venirEn voir plus...

LondresMozart, Chopin, Schoenberg, Moszkowski

Mozart, Chopin, Schönberg, Moszkowski
Mignonette Aarons, Piano

LondresAshley Fripp, Piano

Weber, Bartók, Chopin, Adès
Ashley Fripp, Piano

ParisBeethoven, Chopin, Rachmaninov, Debussy, Liszt

Beethoven, Chopin, Rachmaninov, Debussy, Liszt
Giuseppe Guarrera, Piano

Yokohama335th Yokohama Subscription Concert

335th Yokohama Subscription Concert
Chopin, Brahms
Japan Philharmonic Orchestra; Junichi Hirokami; Michie Koyama

LondresMaurizio Pollini, piano

© Mathias Bothor
Schumann, Chopin
Maurizio Pollini, Piano
Critiques récentesEn voir plus...

Adam Laloum au TCE : du chant aux couleurs orchestrales

Adam Laloum © Carole Bellaiche
Laloum n'oublie jamais que Chopin est un génie de la main gauche, contrairement à ce qu'en a dit Artur Schnabel pour le moquer. Retour sur un remarquable récital au Théâtre des Champs-Elysées. 

Trifonov au sommet dans un hommage à Chopin

Daniil Trifonov © Dario Acosta | Deutsche Grammophon
Daniil Trifonov nous propose un programme en hommage à Chopin, avec différents hommages et variations. L'occasion d'applaudir un pianiste qui reste au sommet de son art. 

L’âme et la machine : Karol Mossakowski insuffle à l’orgue de Radio France des notes orchestrales

Karol Mossakowski © Karol Mossakowski
Une ambition affichée : faire sonner l’infini des possibles du plus monumental des instruments sur des partitions qui ne lui sont pourtant pas destinées. 

Nobuyuki Tsujii, méticuleux pianiste de l'instant face à un public enthousiaste

Nobuyuki Tsujii © Yuji Hori
Retour sur les grands débuts parisiens du pianiste japonais Nobuyuki Tsujii au Théâtre des Champs-Elysées.

Yuja Wang à la Fondation Louis Vuitton, ou le luxe de l'aisance

Yuja Wang © Susanne Diesner
Yuja Wang et du Malher Chamber Orchestra qui inaugurent leur tournée européenne à la Fondation Louis Vuitton. Un programme audacieux qui confronte l’esthétique néoclassique de Stravinsky avec le romantisme à fleur de peau de Chopin, et les plaçant dans l’héritage de Mozart et de Beethoven.

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.4824 Préludes, Op.283 Nocturnes, Op.153 Nouvelles études, Op.posth5 Mazurkas, Op.7Andante 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.57Complete 4 Ballades Op.23, Op.38, Op.47, Op.52Concerto pour piano no. 1 en mi mineur, Op. 11Concerto pour piano no. 2 en fa mineur, Op. 21Dances at a GatheringDeux Nocturnes, Op.55Deux Nocturnes, Op.62Duo Concertant en mi majeur sur des thèmes de « Robert le Diable » de MeyerbeerEtude en fa mineur, Op.25 no. 2Etude en mi majeur « Tristesse », Op.10 no. 3Fantasie en fa mineur, Op.49Introduction et Polonaise Brillante en ut majeur pour violoncelle et piano, Op.3La Dame aux caméliasMazurka en fa dièse mineur, Op.59 no. 3Mazurka en fa mineur, Op.7 no. 3Mazurka en la mineur, Op.17 no. 4Mazurka en ut dièse mineur, Op.30 no. 4MazurkasNocturneNocturne en ut dièse mineur, « Lento Con Gran Espressione », Op.posthNocturne no. 12 en sol majeur, Op.37 no. 2Nocturne no. 14 en fa dièse mineur, Op.48 no. 2Nocturne no. 15 en fa mineur, Op.55 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. 5 en fa dièse majeur, Op.15 no. 2Nocturne no. 7 en ut dièse mineur, Op. 27 no. 1Other DancesPolonaise no. 3 en la majeur « Militaire », Op.40 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 fa mineur, Op.28 no. 18Prélude en mi majeur, Op.28 no. 9Prélude en mi mineur, Op.28 no. 4Prélude en si bémol majeur, Op.28 no. 21Quatre Mazurkas, Op.24Rondo 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.58The Concert (or, The Perils of Everybody)Three Mazurkas, Op.56Three Mazurkas, Op.59Trio en sol mineur pour piano, violon et violoncelle, Op.8Valse no. 5 en la bémol majeur, Op.42Variations en si bémol majeur sur « la ci darem la mano » pour piano et orchestre, Op.2Voorbij gegaan