Last compositions of Mozart and Bruckner were not completed, they are usually played in the completed version by others, but I preferred the original unfinished version. For example, the last works of Liszt and Stravinsky are actually arrangements, but I chose the last original works. For Russian composers, Chopin was first and foremost a Slavonic composer, and England “largely domesticated his compositions… reducing his music to ‘drawing-room trifles,” and ‘pearls’.” Chopin’s music was, for the late 19th century, “an intimate communication, an agent for cultural and even political propaganda, and a commodity.”įor more of the best in classical music, sign up to our E-Newsletterįrédéric Chopin: Rondo, Op.I should mention that there are some exceptional cases in some of the compositions in the video. In Germany, meanwhile, Chopin was freed from the Parisian salon and elevated to a composer of classical music. In France, Chopin was considered the poet of the piano, who “disclosed his suffering through music.” His music was placed entirely within an intimate performance context, and his art for nuance, sophistication and refinement was considered a model to be followed. Furthermore, the late 19th century cultivated several different images of Chopin. The majority of Chopin editions published in the late 19th and early 20th century followed these two opposing philosophies. 2 (Pietro De Maria, piano)įrédéric Chopin: Polonaise No. 1 (Pietro De Maria, piano)įrédéric Chopin: Polonaise No. These two editions are markedly different because “the first assumed an editorial license, an implicit belief that the editor knows best, while the second attempted to recover a living Chopin performance tradition, even if this involved departing from the sources.”įrédéric Chopin: Polonaise No. Fétis edited one for Schonenberger in 1860, and the other was edited by Chopin’s Norwegian student Tellefsen and published by Richault, also in 1860. Theses posthumous works resurface in the two earliest collected editions of Chopin’s work. The edition was prepared by Julian Fontana for Meissonier and A.M. Chopin’s posthumous publications of 18 featured opp. As such, dealing with Chopin’s posthumous works-some I am featuring in this article-turned out to be a rather complex undertaking. Chopin generally bypassed the sketching process and proceeded directly from the piano to the engraver’s manuscript. 3 (Arthur Rubinstein, piano)ĭespite his constant health struggles, “Chopin reached a new plateau of creative achievement, marked by an eloquent simplicity which severely excludes the extraneous and the gratuitously ornamental.” These last works, however, did cause Chopin and assorted editors and publishers some difficulties.
2 (Arthur Rubinstein, piano)įrédéric Chopin: Waltz No. 1 (Arthur Rubinstein, piano)įrédéric Chopin: Waltz No. Jean Cruveilhier, considered one of the foremost medical experts, performed the autopsy, but his report has never been found.įrédéric Chopin: Waltz No. Chopin’s condition deteriorated further at the beginning of October 1849, and he died on the morning of 17 October 1849 “after having been unconscious for 24 hours.” The death certificate listed tuberculosis in the lungs and larynx as the official cause. An army of doctors tended to his physical ailments, including cough, fever, painful wrists and ankles, hemoptysis, hematemesis and ankle edema. A side trip to Scotland in April 1848 only made matters worse, and he returned to Paris in a seriously weakened state in November of that year.
Chopin last composition series#
He was habitually short of breath and lacked energy, and instead of performing a series of concerts, as he had hoped, he spent most of his time in bed. When Chopin traveled to England during the winter of 1847 his health had only deceptively improved.
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