Impromptu in F-Sharp Major, Op. 36 Fryderyk Chopin (1810 -1849) Impromptu is a term that has little technical or formal meaning, but it usually refers to a composition for piano (or, occasionally, another solo instrument) with an improvisational. An impromptu is often described as a work that results from sudden inspiration. ...Chopin's four famous Impromptus are in ternary form (ABA). Similarities between the four works have led some writers to suggest that Chopin thought of the four as a "set" in which each successive impromptu is derived, in an improvisatory fashion, from the previous one. Chopin composed the Impromptu in F sharp major, Op. 36, in 1839, not long after beginning his relationship with Aurore Dudevant (George Sand). The piece was first printed in Leipzig in 1840. He begins the Impromptu in F sharp major with a device he uses in several other works: it starts with a motive that has melodic characteristics, but eventually proves to be accompanimental. In this case, six measures of an idea occur in the left hand before another voice enters in the right, inverting the direction of the left-hand voice. What is most interesting is that the reiterated D sharp - C sharp at the end of this right-hand phrase also appears in the first two measures of the left-hand phrase. ... In D major, the central section employs the dotted figure from the A section in the bass to underpin a melody that gradually becomes thicker and more forceful over leaping octaves in the left hand. This dissolves quickly, heralding the return of the first theme, which begins, oddly, on F major, eventually returning to F sharp. The coda, as lengthy as the music that precedes it, begins with one of Chopin's technically dazzling passages. The extremely fast scales and turns of the right-hand line are given a simple accompaniment, allowing the listener to completely focus on the awesome technique necessary to perform the right-hand passage.   John Palmer, All Music Guide Four Mazurkas, Op.49 Fryderyk Chopin (1810 - 1849) ...In 1826 Chopin enrolled at the University of Warsaw. He gave his first recital in Vienna in 1829, and over the next few years he performed at home and through much of German and Austria as well as in Paris. Feeling limited by Warsaw's cultural provincialism and uncomfortable with the publicity surrounding his performances there, he settled in Paris in 1832 and established himself as an exorbitantly paid piano teacher. In Paris he composed extensively, but limited his performances mainly to private salons. In 1838 he began an affair with French novelist George Sand. The couple, along with Sand's children, spent a harsh winter in Majorca, where Chopin's health plummeted and he was diagnosed with consumption (tuberculosis). Chopin settled in with Sand in France, composing steadily although his increasing perfectionism slowed his output. By the mid-1840s, though, his health and romantic situation both had deteriorated. The affair ended in 1847 after, among other things, Sand had portrayed their relationship unflatteringly in her 1846 novel Lucrezia Floriani. Chopin then made an extended visit to the British Isles, but returned to Paris to die in 1849.   © James Reel, All Music Guide Chopin composed 58 Mazurkas (there seem to be at least another 2 unfinished sketches) and many of his other works of different genres are either inspired by the Mazurka or have parts of Mazurkas within them. Chopin did, of course, not invent the Mazurka form. However, it was he alone who put the Mazurka on the public stage and refined it into the highest art of music. In his Mazurkas, you get to know the very soul of Poland and Chopin never forgot his home land or the poor farmers singing the Mazurkas during the time of harvest. Chopin started his composing with a Polonaise and ended with a Mazurka, thus closing the circle.   Piano Society ...Both the traditional mazurka and Chopin's version contain a great deal of repetition. This can mean repetition of a single measure or small group of measures, repetition of a theme, or even repetition of an entire section. This repetition makes sense in the traditional dance for the repeat of a certain section of the actual dance; even though Chopin did not compose his mazurkas so they could be danced to, it is clear Chopin kept the original form in mind. Furthermore, many of the rhythmic patterns of the traditional mazurka also appear in Chopin's compositions so they still convey the idea of a dance, but a more "self-contained, stylized dance piece." In keeping with this idea, Chopin did try to make his mazurkas more technically interesting by furthering their chromaticism and harmony, along with using classical techniques, such as counterpoint and fugues. In fact, Chopin used more classical techniques in his mazurkas than in any of his other genres.   Wikipedia Fantasy in F minor, Op. 49 Fryderyk Chopin (1810 - 1849) The Fantaisie in F-minor of Frederic Chopin is a single-movement work for the piano. This work belongs to the Fantasy form, and takes from it certain salient elements, such as unpredictability (sudden changes in volume and key), contrasts of texture, rhythm, and the use of formal invention, that is, the form of the piece will not easily be placed into any pre-conceived or well-known patterns (such as "Sonata"), and will give the impression of an improvisatory style. To illustrate one may examine the opening section and the music that follows it. The work opens with a dark, march-like section of some length, which never re-appears. We are, however, introduced to the "motive," or "musical idea," of a descending scale of four notes which will provide something of a thread throughout the work. This opening section is firmly entrenched (with some deviation) in the key of F-minor and its rhythmic regularity will provide contrast for what immediately follows, which is a wildly unpredictable and "free" almost improvisatory section, moving quickly through temporary key areas, creating a sense of mystery and instability.    Wikipedia Scherzo in B-flat minor, Op. 31 Fryderyk Chopin (1810 - 1849) The Scherzo No. 2 in B-flat minor, Op. 31 ...was composed and published in 1837, and was dedicated to Countess Adele Fürstensein. Schumann compared this scherzo to a Byronic poem, "so overflowing with tenderness, boldness, love and contempt." According to Wilhelm von Lenz, a pupil of Chopin, the composer said that the renowned sotto voce opening was a question and the second phrase the answer: "For Chopin it was never questioning enough, never soft enough, never vaulted (tombe) enough. It must be a charnel-house." The melody, marked "con anima," is repeated three times during the lengthy proceedings, the last time bringing us to the coda in a magnificent key change. The gorgeous melody overlies a six-note-per-measure left-hand accompaniment of exceeding richness. The trio, filled with longing, takes on a pianistic complexity. Huneker exults, "What masterly writing, and it lies in the very heart of the piano! A hundred generations may not improve on these pages."    Wikipedia Sonata in B-flat minor, Op.35 Fryderyk Chopin (1810 - 1849) 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. Chopin composed his Piano Sonata No. 2 in B-flat minor, Op. 35 ("Funeral March") mainly in 1839 at Nohant near Chateauroux in France, although the funeral march third movement had been composed as early as 1837. The first movement features a stormy opening theme and a gently lyrical second theme. The second contains a calmer, more relaxed melodic theme. The third movement begins and ends with the celebrated funeral march in B flat minor which gives the sonata its nickname, but has a calm interlude in D flat major. The finale contains a whirlwind of unison notes with unremitting (not a single rest or chord until the final bars) unvarying tempo or dynamics (changes of volume); James Huneker, in his introduction to the American version of Mikuli edition of the Sonatas, quotes Chopin as saying "The left hand unisono with the right hand are gossiping after the March". Others have remarked that the fourth movement is "wind howling around the gravestones".   Piano Society As noted above, the 3rd movement is structured as a funeral march played with a Lento interlude. While the term "funeral march" is perhaps a fitting description of the 3rd movement, complete with the Lento Interlude in D flat major, "Chopin's Funeral March" is used commonly to describe only the funeral march proper (in B flat minor). The "funeral march" has become well known in popular culture. It was also used at the state funerals of John F. Kennedy and those of Soviet leaders, including Leonid Brezhnev. It was transcribed for full orchestra by the English composer Sir Edward Elgar in 1933 and its first performance was at his own memorial concert the next year. It was played at the graveside during Chopin's own burial at Père Lachaise cemetery in Paris.   Wikipedia Andante spianato and Grand Polonaise brillante in E-flat Major, Op.22 Fryderyk Chopin (1810 - 1849) Poland's most famous and patriotic dance bears a French name, as well as the Polonaises most famous composer, Chopin. Chopin got it from his father, the dance, in its modern manifestation, from its godmothers; three French princesses of the 17th century who married successive Polish kings. Chopin's first composition was a Polonaise, his last a Mazurka, closing the circle and few have achieved greater or more lasting popularity than the mature Polonaises as his op.53 in A-flat major.    Piano Society