for pianoforte & orchestra in E
minor, Op. 11 (Br. 53, KK. 164-177)
composed in 1830/4-8, published in 1833
dedicated to Monsieur Friedrich Kalkbrenner
�Emermann paid
me a visit and judged that the First Allegro is better in
the new Concerto � [�] the task is urgent; I have to write
in a hurry.�
17 April
�The Rondo for the new Concerto is not completed � and to do
this I need inspiration; I am not in a particular hurry
since having completed the first Allegro and am not anxious
about the rest. [�] The Adagio to the new Concerto is in E
major. It is not supposed to be emphatic, but more in a
sentimental vein, tranquil and melancholic, and should
produce the impression of gazing at a spot which brings to
mind a thousand pleasant memories. � It resembles beautiful
springtime reflections, albeit by moonlight. This is the
reason why I accompany it be means of sordini, in other
words, violins muffled with kind of combs which, by
bestriding the strings, produce a nasal, silver tone. - This
might be wrong, but why should one be ashamed of writing
faultily despite knowledge � only the outcome will disclose
the error.�
15 May
�[�] I am to rehearse the whole Concerto with a quartet
already this week, so that the quartet could first become
acquainted with me � to grow somewhat familiar, without
which, Elsner claims, a rehearsal with an orchestra would
not succeed. Linowski is copying hurriedly, but he has
already started the Rondo.�
31 August
�Last Wednesday I rehearsed my Concerto with a quartet. I
was content but no very much so � people say that the last
finale was the most pleasant (since it was the most
comprehensible). I shall write to you next week how it will
sound with an orchestra because I shall rehearse it this
Wednesday.�
18 September
�[...] today I am rehearsing the second Concerto with the
whole orchestra, with the exception of trumpets and
kettledrum, [�] I have already completed the second
Concerto, but am still as foolish as I was before I learned
the keyboard. [�] I must fly to once again assure myself
about Elsner, [�] the music stands and sordini, about which
I totally forgot yesterday; without them the Adagio, whose
success, I suppose, does not se, em to be great anyhow,
would fail. The Rondo is effective, the Allegro is forceful.
O, cursed self-love!�
22 September
�After an orchestra rehearsal of the second Concerto it was
decided to perform it in public; I shall present it next
Monday, that is, on the eleventh of the month. On the one
hand, I am not very pleased with this, but, on the other,
hand, I am curious about the general effect. I believe that
the Rondo will make an impression on everyone. It is about
his Rondo that Soliva told me: �il vous fait beaucoup
d�honneur� [it does great credit to you], Kurpinski
mentioned originality, and Elsner spoke about rhythm.�
5 October
�I hasten to tell you that yesterday�s concert was a
success. I inform your Lordship that I was not at all
nervous, and played as I do when I am alone, and that
everything went well. Full hall. First, Gorner�s symphony,
followed by my lordship, the Allegro in E minor, which I
reeled off with ease, was presented on a Streicher piano.
Tumultuous applause. Soliva was delighted; he conducted
because of his air with chorus, beautifully sung by Mlle
Wolkow dressed prettily like a cherub in blue; after the air
came the Adagio and the Rondo; then a pause between the
first and second parts. � [�] I really do not know how
things would have gone yesterday if Soliva had not taken my
scores home, read them and conducted so that I did not have
play rapidly as though to break my neck, but he managed so
well to hold us back that, I assure you, I have never
succeeded in playing so comfortably with an orchestra. The
piano, it seems, was much liked, and Mlle Wolkow even more
so.�
12 October
From the letters of F. Chopin to Tytus Woyciechowski in
Poturzyn, Warsaw 1830.
�We found ourselves at the Resource where kappelmeister
Schnabel requested that I be present at the rehearsal of a
concerto to be performed in the evening. [�] Schnabel, who
has not heard me for four years, asked me to try the piano.
It was difficult to refuse, so I sat down and played several
variations. [�] they started to ask me to play in the
evening. Schnabel in particular insisted so earnestly that I
did not dare to refuse the old man. [�] I went, therefore,
with his son to get the music and played to them the Romance
and the Rondo from the second Concerto. During the
rehearsal, the Germans were astonished by my performance:
�Was fur ein leichtes Piel hat er� [What a light touch he
has], but said nothing about the composition. [�] Since I
still do not have an established reputation they were
surprised and, simultaneously, afraid to be surprised; they
did not know whether the composition is good or whether it
only appeared to be so.
One of the local connoisseurs approached me and praised the
novelty of form, saying that he had never heard anything
similar; I do no know who he was, but he probably understood
me best of all.�
F. Chopin to his family in Warsaw. Wroclaw 9 November 1830.
�Chopin had the fortunate idea of playing the Adagio
[Romance, Larghetto] from his last Concerto. Placed between
two orchestral compositions maintained in a turbulent style,
this enchanting work, in which irresistible charm is
combined with most profound religious thoughts, submerged
the listeners into a specific joy � serene and ecstatic � to
which we have not become accustomed in a similar situation.
All this differs greatly from the endless adagios, which
usually fill the middle movement of a piano concerto; in
this case, there is so much simplicity used with such
freshness of imagination, that when the last note was heard,
in the manner of a pearl cast into a golden vase, the
audience, immersed in contemplation, continued to listen,
and for a few moments restrained itself from applauding. In
the same way, while observing the harmonious descent of
twilight semi-shadows, we remain motionless in the darkness,
with our eyes still focused on that point of the horizon,
where the light has just faded.�
Hector Berlioz �Le Renovateur� 3 (IV), 5 January 1835.
�The pianist should become here the first tenor and the
first soprano, but, predominantly, a singer and an excellent
one in all those arpeggios which � in accordance with
Chopin�s will � should be performed in the cantabile style.
This is the way he taught his beloved Filtsch to understand
this movement. At the time (1842) Chopin no longer performed
the composition, since he had resigned from public
appearances. Nonetheless, he played to us the themes in an
indescribably beautiful way and outlined the passages. He
wanted them to be executed cantabile, with a certain
moderation of loudness and bravura, by emphasizing each
motif particle and with extraordinarily delicate sounding
even in the transitory passages, which here is regarded as
an exception. No mention was ever made about the second and
the third movement. [�] Filtsch studied the first movement
working on each solo separately; Chopin had never permitted
him to perform this movement from the beginning to the end,
because he became excessively stirred.
He was also of the opinion that each solo contained the
whole composition.
When he finally allowed Filtsch to play the whole work [�],
the Master declared:
�You have prepared this movement so splendidly that he can
perform it: I shall be your orchestra�. [In the Chopin
salon, they performed the first movement of the Concerto in
E minor on two pianos for a specially invited audience,
whose majority was composed of pupils of aristocratic
families].
Chopin recreated the whole well-devised, ephemeral
instrumentation of this composition in his incomparable
accompaniment. He played by heart. Never before have I heard
anything to equal the first tutti, performed by him on the
piano. The boy worked miracles. The overall effect produced
an impression to last a lifetime.�
Wilhelm von Lenz, Uerbersichtliche Beurtheilung der
Pianoforte-Kompositionen von Chopin [�], �Neue Berliner
Musikzeitung� 4 September 1872
Introduction and Variations on
the 'Ronde' from Herold's 'Ludovic' op. 12
for pianoforte B Flat Major, Op. 12 (Br. 80,
KK. 178-180)
composed in 1833/summer, published in 1833
dedicated to Mademoiselle Emma Horsford
"I'm now
learning the variations from Ludovic for miss Horsford; I
like them very much." - Izabela Chopin in a letter from
Warsaw to Chopin in Paris, 26 Apr 1834
Grand Fantasia on Polish Airs
op. 13
for pianoforte & orchestra in A
Major, Op. 13 (Br. 28, KK. 181-187)
composed in 1828/11, published in 1834
dedicated to Johann Peter Pixis
Among the Polish airs used
are:
1. the folk song 'Juz
miesiac zaszedl, psy sie uspily' ('Already the moon had set, the dogs were
asleep')
2. an air by Karol (Kasimir)
Kurpinski
3. a Kujawiak (see: Abraham,
Gerald, "Chopin's musical style", London 1939, p. 23)
Krakowiak: Grand Concert Rondo
op. 14
for pianoforte & orchestra in F
Major, Op. 14 (Br. 29, KK. 188-197)
composed in 1828/11-12, published in 1834
dedicated to la Comtesse Anna
Czartoryska Sapiech�w
A Krakowiak is a Polish
dance in 2/4 time of the Krakow district.
Nocturne op. 15, 1
for pianoforte in F Major, Op. 15, 1 (Br. 55,
KK. 198-215)
composed in 1830-31, published in 1833
Nocturne op. 15, 2
for pianoforte in F Sharp Major, Op. 15, 2 (Br. 55,
KK. 198-215)
composed in 1830-31/spring, published in 1833
Nocturne op. 15, 3
for pianoforte in G minor, Op. 15, 3 (Br. 79,
KK. 198-215)
composed in 1833, published in 1833
three nocturnes dedicated to Ferdinand Hiller
"They say
[...], after
the day he attended the performance of Hamlet at the theatre
he wrote the nocturne op. 15 no. 3 and inscribe it: At the
cemetery, but when it came to having it printed, he erased
the inscription, saying: Let them work it out for
themselves." - M.A.Szulc, Echo muzyczne, 1880