In 1910 two further songs were discovered and added to this collection. One exception is the setting of the Lithuanian poem ‘Piosnka litewska’. With a posthumous opus number of 74, 17 songs date from 1829 – 1847.Įach is a setting of a Polish poem written by poets contemporary to the composer. Gladly, the trail of compositions not solely for piano does not run cold yet. Unexpected energy is released in this movement that powers the work to a G major conclusion. At times it seems as if Brahms raises his head with the abundance of hemiolas. To close, the last movement is impish, precocious, and expertly crafted. It serves as a tranquil bridge between Scherzo and Finale. The opening mirrors the first movement in D minor with the Trio in the tonic major. Next, the Scherzo jumps in with tumultuous excitement, beauty, and lyricism. It is a vital and passionate movement that I suspect Chopin had to work hard to maintain the balance between the cello and piano. There is no avoiding the sense of darkness creeping ever closer coupled with despair. The opening movement in D minor follows a sonata form structure, with the cello and piano assuming equally vital roles in this deeply troubled movement. He sketched and re-wrote large parts of this piece before he was content. As far as we can tell, this final work gave Chopin considerable trouble. The piece is formed in four movements as follows: Allegro moderato Scherzo Largo Finale: Allegro. Franchomme was, as you might expect, the solo cellist.Ĭhopin composed the Sonata (Op.65) in Paris between 18. This work was included in this performance but only in the final three movements. The last concert that Chopin gave was in Paris in 1848. It was dedicated to Auguste Franchomme and was the last composition published in his brief lifetime.įranchomme was, by all accounts, a formidable French cellist who received many awards for his outstanding contribution to music. Of these three works, it is the final one that is truly worthy of note. The pieces are Op.3 ‘Introduction and Polonaise Brillante’ in C major Op.16 (B.70), ‘Grand Duo concertant’ in E major and Op.65 ‘Cello Sonata in G minor. These spans a time frame from 1829 – 1846. Chopin composed three works for cello and piano. They are composed in a manner that matches some of the characteristics of the flute, although they seem not to have been as inspired as many of Chopin’s other pieces. Here maybe, is the margin of doubt surrounding the authorship of the work. The music is perfectly well composed but a matter of fact, even ordinary. If you’re used to the pyrotechnics and emotional depth of Chopin’s piano music, these variations will probably not impress you. Three variations are in E major, with the Piu lento written in the tonic minor (E minor). They are composed for flute and piano.įour variations follow after the opening theme marked Andantino. The approximate composition date of the set of variations is 1824. One of the first pieces I found on this modest list is titled ‘Variations in E major’ on Rossini’s ‘La Cenerentola’. Some doubt exists around one or two of these compositions as to whether Chopin genuinely composed them, but that is a rolling debate for musicologists. There are, however, several compositions that Chopin completed for other instruments. It is hardly a surprise then to realise that Chopin composed almost exclusively for the piano, an instrument with which he had a remarkable relationship. This talent was not only in composing but as a powerful, dextrous performer. What we discover even in the young Chopin is a formidable talent. If the stories are to be believed, even at this age, Chopin outstretched his teacher’s methods and developed his unique approach to the piano. Chopin, even at this age, was attempting to compose music on the piano, and at seven years old, Chopin began to study the piano more formally.
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