Miscellaneous Piano and Orchestra
Chopin spent his late teens writing pieces that would help build his reputation as a promising young composer and pianist. To this end, he composed a handful of orchestral works with piano as the featured soloist. His two Piano Concertos date from this period, as do a few single-movement works. Chopin’s career would prove that he wasn’t very much interested in the orchestra, although his works in this genre are actually quite enjoyable and inventive. He would complete the orchestral part of the Grand Polonaise Brillante in 1831. It was his final piece for orchestra and piano, and he completed it when he was just twenty-one.
Variations on “La ci darem la mano”
Chopin was just a young man of seventeen when he endeavored to set a melody by Mozart for piano and orchestra. He was a great fan of Mozart, and one of his first large-scale pieces was a set of variations on “La ci darem la mano,” a duet from Mozart’s Don Giovanni.
Chopin premiered the piece in 1829, when he was visiting Vienna. The piece begins with a lengthy introduction, after which the piano presents “La ci darem la mano” in a very straightforward fashion. The first variation, marked Brillante, is fast and lively, as its name suggests, and the second is even faster than the first. An orchestral tutti intervenes in between the end of one variation and the beginning of another, with individual voices of the orchestral instruments punctuating these breaks. Some variations require the orchestra to provide sustained chords to support the harmony, while in others the instruments play a more active role. The fifth variation, in a minor key, provides some contrast and drama to a brilliant piece. According to Chopin, the enthusiastic audience applauded every variation of the melody. The coda, marked Alla Polacca, returns us to the glittering charm of the early variations. The piece ends in such spectacular fashion and displays such virtuosity throughout, it’s no wonder Robert Schumann wrote of Chopin in his review of the piece, “Hats off, gentlemen! A genius!”
Chopin spent his late teens writing pieces that would help build his reputation as a promising young composer and pianist. To this end, he composed a handful of orchestral works with piano as the featured soloist. His two Piano Concertos date from this period, as do a few single-movement works. Chopin’s career would prove that he wasn’t very much interested in the orchestra, although his works in this genre are actually quite enjoyable and inventive. He would complete the orchestral part of the Grand Polonaise Brillante in 1831. It was his final piece for orchestra and piano, and he completed it when he was just twenty-one.
Variations on “La ci darem la mano”
Chopin was just a young man of seventeen when he endeavored to set a melody by Mozart for piano and orchestra. He was a great fan of Mozart, and one of his first large-scale pieces was a set of variations on “La ci darem la mano,” a duet from Mozart’s Don Giovanni.
Chopin premiered the piece in 1829, when he was visiting Vienna. The piece begins with a lengthy introduction, after which the piano presents “La ci darem la mano” in a very straightforward fashion. The first variation, marked Brillante, is fast and lively, as its name suggests, and the second is even faster than the first. An orchestral tutti intervenes in between the end of one variation and the beginning of another, with individual voices of the orchestral instruments punctuating these breaks. Some variations require the orchestra to provide sustained chords to support the harmony, while in others the instruments play a more active role. The fifth variation, in a minor key, provides some contrast and drama to a brilliant piece. According to Chopin, the enthusiastic audience applauded every variation of the melody. The coda, marked Alla Polacca, returns us to the glittering charm of the early variations. The piece ends in such spectacular fashion and displays such virtuosity throughout, it’s no wonder Robert Schumann wrote of Chopin in his review of the piece, “Hats off, gentlemen! A genius!”
Rondo a la krakowiak
Chopin penned the Rondo a la krakowiak when he was eighteen. It was composed under the careful supervision of his teacher Jozef Eisner. The composer premiered the piece at his first concert in Vienna in 1829, and it very much impressed and intrigued the audience. The orchestra plays a supportive and accompanimental role, for the most part, but Chopin shows skill in writing for the ensemble, and he is very sensitive to the strengths of each instrument.
He constructed this piece as a Rondo, which suggests that there is a melody or theme that returns over and over again. In this case, that melody is a krakowiak, a lively Polish dance. It was a popular folk dance, but it had also transitioned into fashionable high society. Chopin brings out the spirited rhythm of the style, which relies heavily on syncopated rhythms, and allows the soloist to shine in a skilled display of pianistic dexterity.
Fantasia on Polish Airs
Chopin composed the Fantasia on Polish Airs in 1828 when he was eighteen, although its premiere didn’t come until two years later. Chopin presented this piece, which features three national song styles of Poland, at his first large-scale concert at the National Theater in Warsaw in March of 1830.
The Fantasia begins with a slow introduction, marked Largo ma non troppo, that is almost nocturne-like in character. Chopin then presents three tunes, the first of which is a romantic melody, the second is a dumka—a Polish dance, and the third is a kujawiak. Chopin provides variations for each of the melodies, and the melodies themselves display contrast, with a lively major theme to begin the main section of the piece, a more brooding minor mode song in the middle, and a quick final section with brilliant passagework to bring things to an energetic close.
Grand Polonaise brillante
Although the Grand Polonaise in E-flat is sometimes performed by itself, Chopin composed a solo piano piece to act as an introduction. The introduction, marked Andante spianato, was written a few years after the Polonaise, and Chopin planned to show great contrast between these sections. The opening part is docile and calm, almost suggesting some of the more gentle and evocative pieces in Chopin’s solo piano repertoire. The sinuous right hand melody and the flowing accompaniment lull the listener into a peaceful state of mind. Horn calls then introduce both the Polonaise and a change of mood.
The orchestral opening of the Polonaise is noble, yet delicate. The piano enters, and the orchestra provides colorful accents and a sense of great warmth. The piano part is surely challenging, with quick scalar passages and thick harmonies. One can imagine how impressive and self-assured this piece must have sounded to audiences. The designation brillante is perfectly apt here, as the playing of the soloist is scintillating. He might not have known it at the time, but Chopin said goodbye to the orchestra with this Polonaise, and it is a fitting farewell, indeed.
Chopin penned the Rondo a la krakowiak when he was eighteen. It was composed under the careful supervision of his teacher Jozef Eisner. The composer premiered the piece at his first concert in Vienna in 1829, and it very much impressed and intrigued the audience. The orchestra plays a supportive and accompanimental role, for the most part, but Chopin shows skill in writing for the ensemble, and he is very sensitive to the strengths of each instrument.
He constructed this piece as a Rondo, which suggests that there is a melody or theme that returns over and over again. In this case, that melody is a krakowiak, a lively Polish dance. It was a popular folk dance, but it had also transitioned into fashionable high society. Chopin brings out the spirited rhythm of the style, which relies heavily on syncopated rhythms, and allows the soloist to shine in a skilled display of pianistic dexterity.
Fantasia on Polish Airs
Chopin composed the Fantasia on Polish Airs in 1828 when he was eighteen, although its premiere didn’t come until two years later. Chopin presented this piece, which features three national song styles of Poland, at his first large-scale concert at the National Theater in Warsaw in March of 1830.
The Fantasia begins with a slow introduction, marked Largo ma non troppo, that is almost nocturne-like in character. Chopin then presents three tunes, the first of which is a romantic melody, the second is a dumka—a Polish dance, and the third is a kujawiak. Chopin provides variations for each of the melodies, and the melodies themselves display contrast, with a lively major theme to begin the main section of the piece, a more brooding minor mode song in the middle, and a quick final section with brilliant passagework to bring things to an energetic close.
Grand Polonaise brillante
Although the Grand Polonaise in E-flat is sometimes performed by itself, Chopin composed a solo piano piece to act as an introduction. The introduction, marked Andante spianato, was written a few years after the Polonaise, and Chopin planned to show great contrast between these sections. The opening part is docile and calm, almost suggesting some of the more gentle and evocative pieces in Chopin’s solo piano repertoire. The sinuous right hand melody and the flowing accompaniment lull the listener into a peaceful state of mind. Horn calls then introduce both the Polonaise and a change of mood.
The orchestral opening of the Polonaise is noble, yet delicate. The piano enters, and the orchestra provides colorful accents and a sense of great warmth. The piano part is surely challenging, with quick scalar passages and thick harmonies. One can imagine how impressive and self-assured this piece must have sounded to audiences. The designation brillante is perfectly apt here, as the playing of the soloist is scintillating. He might not have known it at the time, but Chopin said goodbye to the orchestra with this Polonaise, and it is a fitting farewell, indeed.