Classical

Chopin - 10 Mazurkas Prelude Scherzo (Michelangeli) [1984]

2010-10-11T13:18:44Z

Chopin - 10 Mazurkas Prelude Scherzo (Michelangeli) [1984]


1. Mazurka No. 43, Op. 67 No. 2 - In G Minor. Cantabile
2. Mazurka No. 34, Op. 56 No. 2 - In C Major. Vivace
3. Mazurka No. 45, Op. 67 No. 4 - In A Minor. Moderato Animato
4. Mazurka No. 47, Op. 68 No. 2 - In A Minor. Lento
5. Mazurka No. 46, Op. 68 No. 1 - In C Major. Vivace
6. Mazurka No. 22, Op. 33 No. 1 - In G Sharp Minor. Mesto      play
7. Mazurka No. 20, Op. 30 No. 3 - In D Flat Major. Allegro Non Troppo-Risoluto
8. Mazurka No. 19, Op. 30 No. 2 - In B Minor. Allegretto       play
9. Mazurka No. 25, Op. 33 No. 4 - In B Minor. Mesto
10. Mazurka No. 49, Op. 68 No. 4 - In F Minor. Andantino
11. Prelude In C Sharp Minor, Op. 45 - Sostenuto
12. Ballade No. 1 In G Minor, Op, 23
13. Scherzo No. 2 In B Flat Minor, Op. 31

Arturo Benedetti Michelangeli - piano

This is one of the most sublime Chopin recordings. I won't repeat all that the previous Amazon reviewers have written about its beauty, depth, and nobility, but would only suggest that you forget the caricature of Michelangeli drawn by many critics. For instance, the late Harold Schonberg -- while conceding that Michelangeli played "Gaspard" magnificently -- wrote, "in many pieces of the romantic repertoire he seems unsure of himself emotionally, and his otherwise direct playing is then laden with expressive devices that disturb the musical flow." This from a man who believed the cynically manipulative Josef Hofmann represented "perfection plus." For a resounding refutation of Schonberg I urge you to hear this disc, starting with the Op. 45 Prelude. And, as if it were needed, for further evidence of the refined but rich emotion Michelangeli brought to his art watch the VAI DVD of him performing Beethoven's Sonata Op. 2, No. 3. Returning, however, to Chopin: I suspect that the balance of elegance and deceptive strength we hear in Michelangeli is much closer to Chopin's own playing than that of the romantic players who followed in the wake of Liszt, Anton Rubinstein, D'Albert and Cortot. At the heart of Michelangeli is a still, mysterious melancholy. This might not seem appropriate for the more rollicking mazurkas that Ignaz Friedman played inimitably, but then Michelangeli didn't choose to record them all. For somewhat similar magic listen to Pachmann -- also disparaged by many modern critics. And then come back to this recording. ---John Atherton, amazon.com

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Chopin - 4 Scherzi; Berceuse; Barcarolle (Pollini) [1991]

2015-07-15T15:54:57Z

Chopin - 4 Scherzi; Berceuse; Barcarolle (Pollini) [1991]


1. Scherzo No.1 in B minor, Op.20	9:32
2. Scherzo No.2 in B flat minor, Op.31	9:52
3. Scherzo No.3 in C sharp minor, Op.39	7:25
4. Scherzo No.4 in E, Op.54	10:36
5. Berceuse in D flat, Op.57	4:29
6. Barcarolle in F Sharp, Op.60		8:36

Maurizio Pollini – piano

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Chopin - Ballades, Berceuse, Mazurkas (Yundi Li) [2016]

2017-06-04T10:15:03Z

Chopin - Ballades, Berceuse, Mazurkas (Yundi Li) [2016]


01. Chopin: Ballade No. 1 in G Minor, Op. 23
02. Chopin: Ballade No.2 in F, Op.38
03. Chopin: Ballade No.3 in A Flat, Op.47
04. Chopin: Ballade No.4 in F Minor, Op.52
05. Chopin: Berceuse in D Flat Major, Op. 57
06. 4 Mazurkas, Op.17:No.1 in B Flat Major
07. 4 Mazurkas, Op.17:No.2 in E Minor
08. 4 Mazurkas, Op.17:No.3 in A Flat Major
09. 4 Mazurkas, Op.17:No.4 in A Minor

Yundi Li – piano

Following his 2015 release of Frédéric Chopin's Préludes on Deutsche Grammophon, Yundi Li continues his survey of the Polish master's works with the Four Ballades, the Berceuse in D flat major, and the Four Mazurkas, Op. 17. Yundi's album is part of his ongoing Chopin Project, which has the appearance of being his life's work, so closely is he associated with this music. In keeping with Chopin's preferences, Yundi plays with calm introspection and flexibility in his phrasing, which gives the music a spontaneity that avoids formulaic Romantic clichés. Most importantly, Yundi's use of rubato and his dynamic adjustments are appropriate to the music's flow and not employed for sentimentality or showmanship. Instead, Yundi gives the lyrical Ballades room to breathe, and the tugging of the tempo is always at the service of expression, rather than effect. To sample Yundi's exquisite treatment of line and pacing, the poetic opening of the Ballade in F major, Op. 38 (track two) is a good place to start. But for a livelier example, the Mazurka No. 1 in B flat major shows the pianist in fine form. ---Blair Sanderson, AllMusic Review

Following on from his Chopin Preludes disc comes Li Yundi’s first recording of what are arguably the composer’s biggest challenges: the four Ballades. They are coolly but compellingly dispatched, with Yundi generally passing up opportunities to score easy dramatic points in favour of taking the long view, shaping the pieces into a single span. There are plenty of thrilling moments, however – the ending of the Ballade No 1, for example, which is almost violently stark, and the way the scales rattle crisply and unstoppably up and down in the buildup to the climax of No 4. The Ballades always seem rhythmically grounded; the four Op 17 Mazurkas, which he teams them with, bring out a more rhapsodic, sometimes playful approach. Occasionally one misses the effects: if he has a magical, extra-soft tone in his box of tricks, we don’t hear it, even in the gently rocking Berceuse that clears the air after the fourth Ballade. ---Erica Jeal, theguardian.com

Pianista Yundi Li, laureat I nagrody na XIV Międzynarodowym Konkursie Pianistycznym im. Fryderyka Chopina był pierwszym po 15 latach, któremu przyznano najwyższą nagrodę. Był też pierwszym Chińczykiem i najmłodszym zwycięzcą w jego historii - Yundi miał 18 lat.

W 2015 r. został jurorem XVII konkursu, również najmłodszym w historii. Po zwycięstwie otrzymał kontrakt Deutsche Grammophon, co jest już tradycją konkursu. Jego pierwszy album z kompozycjami Chopina ukazał się w 2002 r. Bardziej doceniono jego następną płytę z utworami Liszta, która trafiła do dziesiątki najlepszych płyt 2003 roku "New York Timesa" i dostała niemiecką nagrodę Echo.

Yundi ma wyjątkowo bogatą dyskografię, nagrywał nie tylko dla DG, ale i EMI Classical. "Chopin: Ballades | Berceuse | Mazurkas" jest siedemnastym albumem w jego karierze.

Od zwycięstwa w Warszawie Yundi Li pozostaje wybitnym interpretatorem Chopina, który znalazł własny klucz do muzyki naszego kompozytora i znajduje wielu naśladowców. Gra perfekcyjnie i bardzo emocjonalnie, jego technika jest wręcz błyskotliwa.

Cztery Ballady zamieszczone na tym albumie wykonuje nieco zbyt chłodno, jak na nasze słowiańskie uszy, ale to akurat podoba się w świecie. W Chinach ma status megagwiazdy porównywanej z Lang Langiem i 14,5 mln fanów na swoim profilu społecznościowym.

Warto podkreślić doskonałą jakość nagrania zrealizowanego w kościele pw. św. Nikodema w Berlinie, gdzie odbywają się koncerty. Kościół ten zawdzięcza doskonałą akustykę drewnianemu sufitowi i niewielkiej kubaturze. ---Marek Dusza, audio.com.pl

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Chopin - Complete Waltzes & Impromptus (Vladimir Feltsman)

2013-02-11T18:16:08Z

Chopin - Complete Waltzes & Impromptus (Vladimir Feltsman)


01.Waltz in Es-dur, Op.18 ‘Grande valse brillante’
02.Waltz in As-dur, Op.34 No.1 ‘Valse brillante’
03.Waltz in a-moll, Op.34 No.2
04.Waltz in F-dur, Op.34 No.3 ‘Valse brillante’
05.Waltz in As-dur, Op.42 ‘Grande valse’
06.Waltz in Des-dur, Op.64 No.1 ‘Minute Waltz’
07.Waltz in cis-moll, Op.64 No.2
08.Waltz in As-dur, Op.64 No.3
09.Waltz in As-dur, Op.69 No.1 ‘L’adieu’
10.Waltz in h-moll, Op.69 No.2
11.Waltz in Ges-dur, Op.70 No.1
12.Waltz in f-moll – As-dur, Op.70 No.2
13.Waltz in Des-dur, Op.70 No.3
14.Waltz in e-moll, Op.posth
15.Impromptu No.1 in As-dur, Op.29
16.Impromptu No.2 in Fis-dur, Op.36
17.Impromptu No.3 in Ges-dur, Op.51
18.Impromptu No.4 in cis-moll, Op.66 ‘Fantaisie-Impromptu’

Vladimir Feltsman – piano

A CD containing all of Chopin's waltzes and impromptus will, almost by definition, be a popular choice among afficionados of both piano music in general and Chopin in particular. The light, smooth delivery that Feltsman assumes makes for the easiest possible listening. All the waltzes are distinguished by their clear, rhythmic interpretation. Maybe, the character of individual key changes are more marked in Rubinstein's recordings but it is always a matter of opinion as to whose delivery one prefers. The Impromptus allow greater freedom for interpretation by the pianist and, for example, the No. 2 in F sharp minor, Op. 36 has a singing tone which is most pleasing.

In any event, everyone who listens to this recording will be well pleased with this choice. --- Jack L. Honigman, amazon.com

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Chopin - Die Klavierkonzerte und Klavierwerke solo CD01 (2007)

2009-10-22T10:04:57Z

Chopin - Die Klavierkonzerte und Klavierwerke solo CD1 (2007)

	Piano Concerto No. 1 in E minor, op. 11	
1.1	Allegro maestoso	 	19:47
1.2	Romance: Larghetto	 	9:31
1.3	Rondo: Vivace	 	9:57

	Piano Concerto No. 2 in F minor, op. 21 
1.4	Maestoso	 	14:00
1.5	Larghetto	 	9:33
1.6	Allegro vivace	 	8:29

Adam Harasiewicz - piano
Wiener Symphoniker
Heinrich Hollreiser – conductor

Adam Harasiewicz – winner 1st place V Fryderyk Chopin International Piano Competition in Warszawa (1955). A.H. began piano lessons at ten years of age under K. Mirski and Janina Illasiewicz-Stojałowska in Rzeszów. At age 15, he won first place in the Competition of Young Talents in Rzeszów. One year later, he took part in the elimination competition for the IV International Chopin Competition. He studied piano at the State Music Academy in Krakow under Prof. Zbigniew Drzewicki (1950-1956).

In 1955, Adam Harasiewicz won first place in the V Chopin Competition in Warszawa. Two years later, he won the Harriet Cohen Foundation medal, in London, for outstanding achievement in piano (1957).

After his triumphant success in the Chopin Competition, Harasiewicz began his intensive work as a virtuoso. He performed in all the European countries, in Asia and North America. He performed concerts with the most famous conductors and best orchestras in the world’s more prestigious venues. During his tour of Japan, he played over one hundred concerts. He played a gala concert specially organised during the World Fair in Brussels (1958). In 1960, playing both Chopin's piano concertos with the New York Philharmonic, under the baton of conductor Stanisław Skrowaczki, at the United Nations headquarters, he inaugurated the Year of Chopin, marking the 150th anniversary of the genius composer's birth. That same year he was awarded the Ignacy Jan Paderewski Foundation's gold medal, in New York.

Adam Harasiewicz was most famous for his fabulous interpretation of Chopin's works. His playing, coloured by an undercurrent of nostalgia (best described by the Polish word 'żal' – meaning grief or lament in this context), reflects the composer's romantic style, while the beautiful, resounding and romantic sound of the pianist is capitalised on to add another dimension to Chopin's music. Balance between the lyrical element and showman-virtuoso in Harasiewicz's performance creates a virtually ideal end-product.

During the years 1958-1974, the artist immortalised the majority of Chopin's works in recordings for Philips (14 LPs) as well as several compositions by Liszt and Brahms. Additionally, for Polskie Nagrania 'Muza', he recorded Chopin's II Concerto in F minor with the National Philharmonic's Symphony Orchestra conducted by Kazimierz Kord (1979), and for Koch, Chopin's – Sonata in B minor, Ballade in A flat major, Nocturnes in D major, Op. 62 nr 1, Scherzo in E major, three mazurkas from Op. 63 as well as Polonaise in A flat major (1992).

Aside from sporadically holding master's courses for pianists as well as giving private artistic consultations to other virtuosos, Harasiewicz does not engage in pedagogical work. He does however occasionally sit on juries of international piano competitions, such as: Bolzano (1984), Saragoss (1987), Tern (1989) and Warszawa (Chopin Competition 1995, 2000). ---Stanisław Dybowski, en.chopin.nifc.pl

Adam Harasiewicz – laureat I nagrody V Międzynarodowego Konkursu Pianistycznego im. Fryderyka Chopina w Warszawie (1955). Adam Harasiewicz naukę gry na fortepianie rozpoczął w dziesiątym roku życia u K. Mirskiego i Janiny Illasiewicz-Stojałowskiej w Rzeszowie. Mając 15 lat zdobył I nagrodę na Konkursie Młodych Talentów w Rzeszowie. Rok później wziął udział w konkursie eliminacyjnym do IX Konkursu Chopinowskiego. Studia pianistyczne odbył w krakowskiej Państwowej Wyższej Szkole Muzycznej w klasie prof. Zbigniewa Drzewieckiego (1950-1956).

W 1955 roku Adam Harasiewicz został laureatem I nagrody V Konkursu Chopinowskiego w Warszawie. Dwa lata później otrzymał medal Fundacji Harriet Cohen w Londynie za wybitne osiągnięcia pianistyczne (1957).

Po swym tryumfalnym sukcesie na Konkursie Chopinowskim, Harasiewicz rozpoczął intensywną działalność wirtuozowską. Występował we wszystkich krajach europejskich, w Azji i Ameryce Północnej. Koncertował z najsłynniejszymi dyrygentami i najwspanialszymi orkiestrami w najbardziej prestiżowych salach. W czasie jednego tournée po Japonii dał ponad sto koncertów. Z okazji Wystawy Światowej w Brukseli (1958) uczestniczył w galowym koncercie. W 1960 r., wykonaniem obu koncertów fortepianowych Chopina z orkiestrą Filharmonii Nowojorskiej pod batutą Stanisława Skrowaczewskiego w siedzibie Organizacji Narodów Zjednoczonych, zainaugurował Rok Chopinowski w 150. rocznicę urodzin genialnego kompozytora. Tego samego roku nagrodzono pianistę złotym medalem Fundacji im. Ignacego Jana Paderewskiego w Nowym Jorku.

Adam Harasiewicz zasłynął głównie jako wspaniały interpretator dzieł Chopina. Jego wykonania oddają, zabarwiony nutą nostalgii (nazywanej polskim słowem "żal"), romantyczny styl kompozytora, a piękny, nośny, właśnie romantyczny dźwięk pianisty, wykorzystywany jest przezeń do nadania śpiewności muzyce Chopina. Równowaga między elementem lirycznym, a popisowo-wirtuozowskim w sztuce wykonawczej Harasiewicza uzyskuje kształt niemal doskonały.

W latach 1958-1974 artysta dla firmy fonograficznej Philips utrwalił większość dzieł Chopina (14 płyt LP) oraz kilka kompozycji Liszta i Brahmsa. Ponadto dla firmy płytowej Polskie Nagrania "Muza", zarejestrował II Koncert f-moll Chopina wraz z Orkiestrą Symfoniczną Filharmonii Narodowej pod dyrekcją Kazimierza Korda (1979), a dla firmy Koch, tegoż twórcy – Sonatę b-moll, Balladę As-dur, Nokturn H-dur op. 62 nr 1, Scherzo E-dur, 3 mazurki z op. 63 oraz Poloneza As-dur (1992).

Poza prowadzeniem sporadycznie kursów mistrzowskich dla pianistów oraz udzielaniem prywatnych konsultacji artystycznych koncertującym wirtuozom, Harasiewicz działalności pedagogicznej się nie poświęca. Bierze natomiast czasem udział w pracach jury różnych międzynarodowych konkursów pianistycznych, m.in. w Bolzano (1984), Saragossie (1987), Terni (1989) i Warszawie (Konkurs Chopinowski 1995, 2000). ---Stanisław Dybowski, pl.chopin.nifc.pl

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Chopin - Die Klavierkonzerte und Klavierwerke solo CD02 (2007)

2009-10-22T10:07:24Z

Chopin - Die Klavierkonzerte und Klavierwerke solo CD2 (2007)

Piano Sonata No. 1 in C minor, Op. 4 
1] I. Allegro maestoso
2] II. Minuetto: Allegretto
3] III. Larghetto
4] IV. Finale: Presto

Piano Sonata No. 2 in B flat minor, Op. 35	
5] I. Grave. – Doppio movimento
6] II. Scherzo
7] III. Marche funèbre: Lento
8] IV. Finale: Presto

Piano Sonata No. 3 in B minor, Op. 58
9] I. Allegro maestoso
10] II. Scherzo: Molto vivace
11] III. Largo
12] IV. Finale: Presto non tanto

13] Barcarolle in F sharp major, Op. 60 (Allegretto)

Adam Harasiewicz - piano

Chopin wrote four Sonatas. Three for piano solo and one for piano and cello. Chopin's sonatas, and especially his opus 35 has been the target of much abuse or which can be traced to Schumann's remark that Chopin had here yoked together four of his maddest children under the same roof. The traditional Sonata form of A-B-A is in fact a very Germanish tradition and plays a relatively minor role in the development of music in France, Italy, Spain, Russia and much of the eastern Europe. --- pianosociety.com

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Chopin - Die Klavierkonzerte und Klavierwerke solo CD03 (2007)

2009-10-22T10:16:05Z

Chopin - Die Klavierkonzerte und Klavierwerke solo CD3 (2007)


3.1	Scherzo No. 1 in B minor, op. 20	 	9:01
3.2	Scherzo No. 2 in B flat minor, op. 31	 	9:56
3.3	Scherzo No. 3 in C sharp minor, op. 39	 	6:50
3.4	Scherzo No. 4 in E major, op. 54	 	9:35
3.5	Fantasie in F minor, op. 49	 	11:34
3.6	Ballade No. 1 in G minor, op. 23	 	8:05
3.7	Ballade No. 2 in F major, op. 38	 	6:24
3.8	Ballade No. 3 in A flat major, op. 47	 	7:14
3.9	Ballade No. 4 in F minor, op. 52	 	10:36

Adam Harasiewicz - piano

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Chopin - Die Klavierkonzerte und Klavierwerke solo CD04 (2007)

2009-10-22T10:18:30Z

Chopin - Die Klavierkonzerte und Klavierwerke solo CD4 (2007)

	12 Etudes, op. 10
4.1	No. 1 in C major "Waterfall"	 	2:08
4.2	No. 2 in A minor "Chromatic"	 	1:23
4.3	No. 3 in E major "Tristesse"	 	4:07
4.4	No. 4 in C sharp minor "Torrent"	 	2:05
4.5	No. 5 in G flat major "Black Key"	 	1:33
4.6	No. 6 in E flat minor	 	3:30
4.7	No. 7 in C major "Toccata"	 	1:29
4.8	No. 8 in F major "Sunshine"	 	2:26
4.9	No. 9 in F minor	 	2:05
4.10	No. 10 in A flat major	 	2:11
4.11	No. 11 in E flat major "Arpeggio"	 	2:21
4.12	No. 12 in C minor "Revolution"	 	2:33

	12 Etudes, op. 25
4.13	No. 1 in A flat major "Aeolian Harp"	 	2:54
4.14	No. 2 in F minor "The Bees"	 	1:32
4.15	No. 3 in F major "The Horseman"	 	1:55
4.16	No. 4 in A minor	 	1:29
4.17	No. 5 in E minor "Wrong Note"	 	3:32
4.18	No. 6 in G sharp minor "Thirds"	 	1:45
4.19	No. 7 in C sharp minor "Cello"	 	5:20
4.20	No. 8 in D flat major "Sixths"	 	1:13
4.21	No. 9 in G flat major "Butterfly"	 	0:57
4.22	No. 10 in B minor "Octaves"	 	3:40
4.23	No. 11 in A minor "Winter Wind"	 	3:52
4.24	No. 12 in C minor "Ocean"	 	2:53

	3 Etudes, op. posth.
4.25	No. 1 in F minor	 	1:57
4.26	No. 2 in A flat major	 	1:29
4.27	No. 3 in D flat major	 	1:32

Adam Harasiewicz – piano

Chopin is the true inventor and patron of the "étude de concert" and what separates Chopin's Etudes from similar compositions is that it was Chopin who first gave etudes complete artistic form in which musical substance goes hand in hand with technical challenge.

The creative stimulus for Chopin's etudes is the individually shaped hand, with its arrangement of muscles and tendons. In essence, it is the mechanical difficulty that directly produces the music, its charm and its pathos. ---pianosociety.com

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Chopin - Die Klavierkonzerte und Klavierwerke solo CD05 (2007)

2009-10-22T10:20:41Z

Chopin - Die Klavierkonzerte und Klavierwerke solo CD5 (2007)

	10 Polonaises
5.1	No. 1 in C sharp minor, op. 26/1	 	6:38
5.2	No. 2 in E flat minor, op. 26/2	 	6:54
5.3	No. 3 in A major, op. 40/1 "Military"	 	5:19
5.4	No. 4 in C minor, op. 40/2	 	6:50
5.5	No. 5 in F sharp minor, op. 44	 	9:49
5.6	No. 6 in A flat major, op. 53 "Heroic"	 	6:27
5.7	No. 7 in A flat major, op. 61 "Polonaise-Fantaisie"	 	12:06
5.8	No. 8 in D minor, op. 71/1	 	5:28
5.9	No. 9 in H flat major, op. 71/2	 	7:29
5.10	No. 10 in F minor, op. 71/3	 	6:55

	2 Waltzes, op. posth.
5.11	No. 15 in E major	 	2:10
5.12	No. 16 in A flat major	 	1:56

Adam Harasiewicz – piano

The polonaise is a couple dance in moderate 3/4 time, originating from Poland (its name is the French word for Polish). Over the years it simply became a term for an instrumental work with certain characteristics, relatively independent of its dance and national origins, but Chopin’s mature works in the genre were to become true symbols of Polish nationalism, especially the most famous one, the “Heroic” Polonaise in A-flat, Op. 53.

When Poland was invaded in 1939, this work (recorded by Paderewski, the great Polish pianist and statesman) was played over and over again on Warsaw radio, until the Nazis were able to shut the station down. --- pianostreet.com

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Chopin - Die Klavierkonzerte und Klavierwerke solo CD06 (2007)

2009-10-22T10:25:14Z

Chopin - Die Klavierkonzerte und Klavierwerke solo CD6 (2007)

	6 Polonaises, op. posth.	
6.1	No. 11 in G minor	 	2:53
6.2	No. 12 in H flat major	 	3:10
6.3	No. 13 in A flat major	 	4:59
6.4	No. 14 in G sharp minor	 	6:32
6.5	No. 15 in H flat minor	 	4:26
6.6	No. 16 in G flat major	 	6:53

	14 Waltzes
6.7	No. 1 in E flat major, op. 18 "Grande valse brillante"	 	5:24
6.8	No. 2 in A flat major, op. 34/1 "Valse brillante"	 	5:06
6.9	No. 3 in A minor, op. 34/2	 	5:17
6.10	No. 4 in F major, op. 34/3 "Valse brillante"	 	2:09
6.11	No. 5 in A flat major, op. 42 "Grande valse"	 	3:43
6.12	No. 6 in D flat major, op. 64/1 "Minute Waltz"	 	1:46
6.13	No. 7 in C sharp minor, op. 64/2	 	3:43
6.14	No. 8 in A flat major, op. 64/3	 	3:10
6.15	No. 9 in A flat major, op. posth. 69/1 "Farewell Waltz"	 	4:07
6.16	No. 10 in B minor, op. posth. 69/2	 	4:00
6.17	No. 11 in G flat major, op. posth. 70/1	 	2:01
6.18	No. 12 in F minor, op. posth. 70/2	 	3:06
6.19	No. 13 in D flat major, op. posth. 70/3	 	2:41
6.20	No. 14 in E minor, op. posth.	 	3:12

Adam Harasiewicz – piano

During the lifetime of Frederick Chopin (1810 – 1849), the Waltz became very popular, both as a dance and as saloon music. No worthy middle-class home could afford to be without the piano and the Waltz was the perfect piece for the pretty daughter or wife to play.

The dance was intimate and one cannot help to reflect how uneasy mothers and fathers were, watching their daughter in familiarly arms of a stranger. The grace sweeps and close body carriage in which the freedom is returned to the females.

Chopin himself had poured scorn on the Waltz, writing home from Vienna. “They actually call Waltzes works”. And so eventually did he as the businessman he was. His own Waltzes undoubtedly reached their finest flowering in Paris but he first discovered the form in Warsaw. He took special pains over the structure and continuity and the organic principle of developing variations lies in one way or the other behind most of them. Musical analysts can expose layer upon layer of thematic correspondences and derivations, which are useful to reveal the inner unconscious logic of the compositional process. Most which are irrelevant to most people but for the pedant analyser of structure. --- pianosociety.com

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