Frederic Chopin  
Frederic Chopin

Chopin at 25, by his fiancée Maria Wodzińska, 1835
Frederic Chopin, in full Frédéric François Chopin, Polish Fryderyk Franciszek Szopen (born March 1, 1810, Żelazowa Wola, near Warsaw, Duchy of Warsaw—died October 17, 1849, Paris, France), Polish French composer and pianist of the Romantic period, best known for his solo pieces for piano and his piano concerti. Although he wrote little but piano works, many of them brief, Chopin ranks as one of music’s greatest tone poets by reason of his superfine imagination and fastidious craftsmanship.

Chopin’s father, Nicholas, a French émigré in Poland, was employed as a tutor to various aristocratic families, including the Skarbeks, at Żelazowa Wola, one of whose poorer relations he married. When Frédéric was eight months old, Nicholas became a French teacher at the Warsaw lyceum. Chopin himself attended the lyceum from 1823 to 1826.

All the family had artistic leanings, and even in infancy Chopin was always strangely moved when listening to his mother or eldest sister playing the piano. By age six he was already trying to reproduce what he heard or to make up new tunes. The following year he started piano lessons with the 61-year-old Wojciech Zywny, an all-around musician with an astute sense of values. Zywny’s simple instruction in piano playing was soon left behind by his pupil, who discovered for himself an original approach to the piano and was allowed to develop unhindered by academic rules and formal discipline.

Chopin found himself invited at an early age to play at private soirées, and at eight he made his first public appearance at a charity concert. Three years later he performed in the presence of the Russian tsar Alexander I, who was in Warsaw to open Parliament. Playing was not alone responsible for his growing reputation as a child prodigy. At seven he wrote a Polonaise in G Minor, which was printed, and soon afterward a march of his appealed to the Russian grand duke Constantine, who had it scored for his military band to play on parade. Other polonaises, mazurkas, variations, ecossaises, and a rondo followed, with the result that, when he was 16, his family enrolled him at the newly formed Warsaw Conservatory of Music. This school was directed by the Polish composer Joseph Elsner, with whom Chopin already had been studying musical theory.

Autographed musical quotation from the Polonaise Op. 53, signed by Chopin on 25 May 1845

No better teacher could have been found, for, while insisting on a traditional training, Elsner, as a Romantically inclined composer himself, realized that Chopin’s individual imagination must never be checked by purely academic demands. Even before he came under Elsner’s eye, Chopin had shown interest in the folk music of the Polish countryside and had received those impressions that later gave an unmistakable national colouring to his work. At the conservatory he was put through a solid course of instruction in harmony and composition; in piano playing he was allowed to develop a high degree of individuality.

Despite the lively musical life of Warsaw, Chopin urgently needed wider musical experience, and so his devoted parents found the money to send him off to Vienna. After a preliminary expedition to Berlin in 1828, Chopin visited Vienna and made his performance debut there in 1829. A second concert confirmed his success, and on his return home he prepared himself for further achievements abroad by writing his Piano Concerto No. 2 in F Minor (1829) and his Piano Concerto No. 1 in E Minor (1830), as well as other works for piano and orchestra designed to exploit his brilliantly original piano style. His first études were also written at this time (1829–32) to enable him and others to master the technical difficulties in his new style of piano playing.

In March and October 1830 he presented his new works to the Warsaw public and then left Poland with the intention of visiting Germany and Italy for further study. He had gone no farther than Vienna when news reached him of the Polish revolt against Russian rule; this event, added to the disturbed state of Europe, caused him to remain profitlessly in Vienna until the following July, when he decided to make his way to Paris. Soon after his arrival in what was then the centre of European culture and in the midst of its own late-flowering Romantic movement, Chopin realized that he had found the milieu in which his genius could flourish. He quickly established ties with many Polish émigrés and with a younger generation of composers, including Franz Liszt and Hector Berlioz and, briefly, Vincenzo Bellini and Felix Mendelssohn. The circles to which Chopin’s talents and distinction admitted him quickly acknowledged that they had found the artist whom the moment required, and after a brief period of uncertainty Chopin settled down to the main business of his life—teaching and composing. His high income from these sources set him free from the strain of concert giving, to which he had an innate repugnance.

Chopin at 28, from Delacroix's joint portrait of Chopin and Sand;
George Sand sewing, from Delacroix's joint portrait of Chopin and Sand


Initially, there were problems, professional and financial. After his Paris concert debut in February 1832, Chopin realized that his extreme delicacy at the keyboard was not to everyone’s taste in larger concert spaces. But an introduction to the wealthy Rothschild banking family later that year suddenly opened up new horizons. With his elegant manners, fastidious dress, and innate sensitivity, Chopin found himself a favourite in the great houses of Paris, both as a recitalist and as a teacher. His new piano works at this time included two startlingly poetic books of études (1829–36), the Ballade in G Minor (1831–35), the Fantaisie-Impromptu (1835), and many smaller pieces, among them mazurkas and polonaises inspired by Chopin’s strong nationalist feeling.

Chopin’s youthful love affairs with Constantia Gladkowska in Warsaw (1830) and Maria Wodzińska in Dresden (1835–36) had come to nothing, though he actually became engaged to the latter. In 1836 he met for the first time the free-living novelist Aurore Dudevant, better known as George Sand; their liaison began in the summer of 1838. That autumn he set off with her and her children, Maurice and Solange, to winter on the island of Majorca. They rented a simple villa and were idyllically happy until the sunny weather broke and Chopin became ill. When rumours of tuberculosis reached the villa owner, they were ordered out and could find accommodations only in a monastery in the remote village of Valldemosa.

The cold and damp, malnutrition, peasant suspiciousness of their strange ménage, and the lack of a suitable concert piano hindered Chopin’s artistic production and further weakened his precarious physical health. Indeed, the privations that Chopin endured hastened the slow decline in his health that ended with his death from tuberculosis 10 years later. Sand realized that only immediate departure would save his life. They arrived at Marseille in early March 1839, and, thanks to a skilled physician, Chopin was sufficiently recovered after just under three months for them to start planning a return to Paris.

The summer of 1839 they spent at Nohant, Sand’s country house about 180 miles (290 km) south of Paris. This period following the return from Majorca was to be the happiest and most productive of Chopin’s life, and the long summers spent at Nohant bore fruit in a succession of masterpieces. For a regular source of income, he again turned to private teaching. His method permitted great flexibility of the wrist and arm and daringly unconventional fingering in the interests of greater agility, with the production of beautiful, singing tone a prime requisite at nearly all times. There was also a growing demand for his new works, and, since he had become increasingly shrewd in his dealings with publishers, he could afford to live elegantly.

Health was a recurrent worry, and every summer Sand took him to Nohant for fresh air and relaxation. Close friends, such as Pauline Viardot and the painter Eugène Delacroix, were often invited too. Chopin produced much of his most-searching music at Nohant, not only miniatures but also extended works, such as the Fantaisie in F Minor (composed 1840–41), the Barcarolle (1845–46), the Polonaise-Fantaisie (1845–46), the ballades in A-flat major (1840–41) and F minor (1842), and the Sonata in B Minor (1844). Here, in the country, he found the peace and time to indulge an ingrained quest for perfection. He seemed particularly anxious to develop his ideas into longer and more-complex arguments, and he even sent to Paris for treatises by musicologists to strengthen his counterpoint. His harmonic vocabulary at this period also grew much more daring, though never at the cost of sensuous beauty. He valued that quality throughout life as much as he abhorred descriptive titles or any hint of an underlying “program.”

Photograph of Chopin by Bisson, c. 1849

Family dissension arising from the marriage of Sand’s daughter, Solange, caused Chopin’s own relationship with Sand to become strained, and he grew increasingly moody and petulant. Some have speculated that, aside from such personal conflicts, his mercurial behaviour may have been attributable to a certain type of epilepsy. In any event, by 1848 the rift between him and Sand was complete, and pride prevented either from effecting the reconciliation they both actually desired. Thereafter Chopin seems to have given up his struggle with ill health.

Broken in spirit and depressed by the revolution that had broken out in Paris in February 1848, Chopin accepted an invitation to visit England and Scotland. His reception in London was enthusiastic, and he struggled through an exhausting round of lessons and appearances at fashionable parties. Chopin lacked the strength to sustain this socializing, however, and he was also unable to compose. By now his health was deteriorating rapidly, and he made his last public appearance on a concert platform at the Guildhall in London on November 16, 1848, when, in a final patriotic gesture, he played for the benefit of Polish refugees. He returned to Paris, where he died the following year; his body, without the heart, was buried at the cemetery of Père Lachaise (his heart was interred at the Church of the Holy Cross in Warsaw).

Chopin statue, Łazienki Park, Warsaw


As a pianist, Chopin was unique in acquiring a reputation of the highest order on the basis of a minimum of public appearances—few more than 30 in the course of his lifetime. His original and sensitive approach to the keyboard allowed him to exploit all the resources of the piano of his day. He was inexhaustible in discovering colourful new passage work and technical figures; he understood as no one before him the true nature of the piano as an expressive instrument, and he was able to write music that is bound up with the instrument for which it was conceived and which cannot be imagined apart from it. His innovations in fingering, his use of the pedals, and his general treatment of the keyboard form a milestone in the history of the piano, and his works set a standard for the instrument that is recognized as unsurpassable.

Chopin plays for the Radziwiłłs, 1829 (painting by Henryk Siemiradzki, 1887)


Chopin’s works for solo piano include about 61 mazurkas, 16 polonaises, 26 preludes, 27 études, 21 nocturnes, 20 waltzes, 3 sonatas, 4 ballades, 4 scherzos, 4 impromptus, and many individual pieces—such as the Barcarolle, Opus 60 (1846); the Fantasia, Opus 49 (1841); and the Berceuse, Opus 57 (1845)—as well as 17 Polish songs.

As a composer, Chopin has acquired increased stature after a period in the late 19th century when his work often was judged by academic standards that were insensible to its individual character. In keyboard style, harmony, and form, he was innovative according to the demands of each specific compositional situation. He had the rare gift of a very personal melody, expressive of heartfelt emotion, and his music is penetrated by a poetic feeling that has an almost universal appeal. Although “romantic” in its essence, Chopin’s music has a classic purity and discretion, without a sign of exhibitionism. He found within himself and in the tragic story of Poland the chief sources of his inspiration. The theme of Poland’s glories and sufferings was constantly before him, and he transmuted the primitive rhythms and melodies of his youth into enduring art forms. At the same time, he subtly differentiated, for example, the intimate poetic inspiration of the mazurka from the more outward-looking, ceremonial aspect of the polonaise, which in works like the Polonaise-Fantaisie (1846) he expanded to the proportions of symphonic poems for the piano. The waltz, meanwhile, offered him a courtly dance medium on a smaller scale, and he responded not by expanding it but by bringing it to unprecedented levels of polish and grace. From the great Italian singers of the age, he learned the art of “singing” on the piano, and his nocturnes reveal the perfection of his cantabile style and delicate charm of ornamentation. His ballades and scherzos, on the other hand, have a dramatic turbulence and passion that effectively dispel the notion that Chopin was merely a drawing-room composer.

Portrait of Jane Stirling by Achille Devéria
Jane Wilhelmina Stirling (15 July 1804 – 6 February 1859) was a Scottish amateur pianist who is best known as a student and later friend of Frédéric Chopin; two of his nocturnes are dedicated to her. She took him on a tour of England and Scotland in 1848, and took charge of the disposal of his effects and manuscripts after his death in 1849. While there is no evidence they were lovers, she was often referred to, after Chopin's death, as "Chopin's widow".


Chopin’s small output was mostly confined to solo piano; yet within its limited framework its range is seen to be vast, comprehending every variety of musical expression. Though Chopin squandered too much time on the drawing-room Parisian aristocracy and disappointed critics who valued artistic worth only in terms of large-scale achievement, he was immediately recognized at his true worth by more-discerning contemporaries, who were astounded by the startling originality he reconciled with exquisite craftsmanship. Present-day evaluation places him among the immortals of music by reason of his insight into the secret places of the heart and because of his awareness of the magical new sonorities to be drawn from the piano.

Arthur Hedley
Leon Plantinga

Encyclopædia Britannica


Chopin on His Deathbed, by Teofil Kwiatkowski, 1849, commissioned by Jane Stirling. Chopin is in the presence of (from left) Aleksander Jełowicki, Chopin's sister Ludwika, Princess Marcelina Czartoryska, Wojciech Grzymała, Kwiatkowski.

The Polish composer Frederic Chopin was born in Zelasowa Wola and studied music from the age of six. By the time he-was seven, he had begun his career as a concert pianist and had his first piece published. He entered the Warsaw Conservatory and after diligent study emerged with honours in 1829.

His first trip abroad was to Vienna, where he gave two successful concerts. Life outside Poland was seductive, and after a brief visit home Chopin left his native land for good, eventually settling in France, his father's homeland. Although only 20, he was already an accomplished pianist noted for his sensitive playing and imaginative improvisations. He had also composed two of his largest works, both piano concertos. In each work the orchestra's role is secondary to that of the soloist, whose part demands virtuoso playing of the highest standard.

Arriving in Paris in 1831 Chopin quickly made influential friends, but success was slower to come his way. Although a gifted musician, he was not a natural performer: his introverted nature did not appeal in the concert hall and his first appearance was coolly received. Chopin's response was to perform only in the Parisian Salon, which earned him the reputation of a snob. However, it was there that his intimate music was heard to best effect and he soon became one of the most popular and well-paid performers in the French capital.

The vast majority of Chopin's 170 compositions are for the piano. Bach exerted an influence, but even more so the operas of Bellini. Chopin adored soaring melodies and long sustained lines and incorporated them into his works with a generous splash of ornamentation. But paramount as an influence were the folk songs and dances of his native country. Chopin borrowed their idiosyncratic rhythms and unusual melodies for his Ballades and Mazurkas and from this rich source developed his characteristic harmonies and daring use of discords. His love of dance music can be heard in his numerous Waltzes, which are in fact impossible to dance to because of their frequent changes of tempo.

In 1837 Chopin met the novelist George Sand, with whom he lived for ten years. It was she who inspired him during his most prolific times and cared for him during the long periods when he was incapacitated with tuberculosis. After a break with Sand, Chopin gave concerts in England and Scotland in 1848, but died the next year in Paris. He left behind a rich legacy of music that has influenced composers as diverse as Brahms, Faure, and Debussy and remains as popular as ever today.


Chopin's death mask, by Clésinger (photos: Jack Gibbons)

Guiomar Novaes
Piano Concerto No.1 in E Minor, Op.11
Allegro Maestoso
Romanze (Larghetto)
Rondo (Vivace)


Sylvia Capoca
Piano Concerto No.2 in F Minor, Op.21
Allegro vivace


J. Robson
Polonaise in C-sharp minor 
No.1 Op.26


C. Breemer
Polonaise in E-flat minor No.2 Op.26


Serg van Gennip
Polonaise op.71 no 3


S. Bisotti
Polonaise in A major No.1 Op.40  "Military"


S. Bisotti
Polonaise in C minor No.2 Op.40


S. Bisotti
Polonasie in F-sharp minor Op.44


Endre Hegedus
Grande polonaise op.22


Serg van Gennip
Polonaise no. 6 in As majeur op. 53 "Heroic"


Kaila Rochelle


Kaila Rochelle
Mazurka in D Major Op.33 No.2


Serg van Gennip
Mazurka op. 7 No. 3 in f.


Robert Stahlbrand
Prelude in C major Op.28 No.1
Prelude in A minor Op.28 No.2
Prelude in G major Op.28 No.3 
Prelude in E minor Op.28 No.4 

Prelude in D major Op.28 No.5
Prelude in B minor Op.28 No.6
Prelude in A major Op.28 No.7
Prelude in F sharp minor Op.28 No.8 
Prelude in E major Op.28 No.9
Prelude in C sharp minor Op.28 No.10
Prelude in B major Op.28 No.11
Prelude in G sharp minor Op.28 No.12
Prelude in F sharp major Op.28 No.13 
Prelude in E flat minor Op.28 No.14 
Prelude in D flat major Op.28 No.15 ("Raindrop")
Prelude in B flat minor Op.28 No.16
Prelude in A flat major Op.28 No.17 
Prelude in F minor Op.28 No.18
Prelude in E flat major Op.28 No.19
Prelude in C minor Op.28 No.20 
Prelude in B flat major Op.28 No.21 
Prelude in G minor Op.28 No.22
Prelude in F major Op.28 No.23
Prelude in D minor Op.28 No.24


Tamas Vasary
B-moll op.9 No.1
Es-dur op.9 No.1
H-dur op.9 No.3
F-dur Op.15 No.1
Fis-dur Op.15 No.2
G-moll Op.15 No.3
Cis-moll Op.27 No.1
H-dur Op.32 No.1
As-dur Op.32 No.2
G-moll Op. 37 No.1
G-dur Op.37 No.2
C-moll Op.48 No.1
F-moll Op.55 No.1
E-moll Op.72 No.1
Cis-moll Op. posth.:Lento con gran espressione


Ingrid Haebler
Op.34 No.1
Op.34 No.2
Op.34 No.3
Op.64 No.1
Op.64 No.2
Op.64 No.3
Op.69 No.1
Op.69 No.2
Op.70 No.1
Op.70 No.2
Op.70 No.3
Op. Posthumous 1
Op. Posthumous 2
Op. Posthumous 3
Op. Posthumous4


Alexander Skwortsow, violin; Regina Albrink, piano
Sarasate - Nocturne


Alexander Skwortsow, violin; Bert Mooiman, piano
Nocturne (version 2)


Alexander Skwortsow, violin; Bernd Brackman, piano


Idil Birer


Idil Birer


Idil Birer
Fantasie, Op.49
Gallop Marquis
Marche Funebre


Ken Sasaki
Piano Sonata No. 2 in B-flat minor, Op. 35 ("Funeral March")
Grave; Doppio movimento
Marche funebre: Lento
Finale: Presto



Richard Rohl
Piano Sonata No. 3 in B minor, Op. 58


Serg van Gennip
Scherzo no. 2 in B flat minor Op. 31


Endre Hegedus
Barcarolle op.60




Funerary monument on a pillar in Holy Cross Church,
Warsaw, enclosing Chopin's heart
The Best of Chopin
The Best of Frederic Chopin
1. Etude Opus 25
2. Nocturne Number 1 Opus 9 ( 2:27 )
3. Nocturne Opus 15 ( 7:44 )
4. Nocturne B Flat minor, op 9 No 1 ( 11:08 )
5. Nocturne B major, op 32 No 1 ( 16:33 )
6. Nocturne C minor, op 48 No 1 ( 20:30 )
7. Nocturne C Sharp minor, op 27 No 1 ( 25:06 )
8. Nocturne D Flat major, op 27 No 2 ( 29:02 )
9. Nocturne E Flat major, op 9 No 2 ( 33:35 )
10. Nocturne E minor, op 72 No 1 ( 38:18 )
11. Nocturne F Sharp major, op 15 No 2 ( 41:43 )
12. Nocturne F Sharp minor, op 48 No 2 ( 44:27 )
13. Nocturne G minor, op 15 No 3 ( 50:59 )
14. Piano Prelude No 4 Opus 28 ( 55:33 )
15. Piano Prelude No 15 Raindrop ( 57:39 )
16. Piano Prelude No 7 Opus 28 ( 1:03:14 )
17. Polonaise Opus 53 Heroic ( 1:04:11 )
18. Polonaise No 1 c sharp minor op 26 No 1 ( 1:10:38 )
19. Prelude No 14 e flat minor op 28 ( 1:18:29 )
20. Prelude No 17 Ab major op 28 ( 1:19:03 )
21. Prelude No 18 f minor op 28 ( 1:22:02 )
22. Prelude No 3 G major op 28 ( 1:22:50 )
23. Prelude No 6 b minor op 28 ( 1:23:52 )
24. Prelude No 8 f sharp minor op 28 ( 1:26:00 )
25. Scherzo b flat minor op 31 ( 1:27:50 )
26. Valse f minor op 70 No 2 ( 1:37:49 )
27. Valse No 3 a minor op 34 No 2 ( 1:40:47 )
28. Valse No 6 D flat major op 64 No 1 Minuten-Walzer ( 1:46:15 )
29. Valse brilliante in E b Op 18 ( 1:48:00 )
30. Waltz A Flat major, op 69 No 1 ( 1:50:05 )
The Very Best Of Chopin
Chopin - The Very Best Of Chopin (2005)

CD 1
1 Barcarolle in F-sharp major, Op. 60
2 Etude in E major, Op. 10 No. 3 "Tristesse"
3 Nocturne in E-flat major, Op. 9 No. 2
4 Cello Sonata in G minor, Op. 65: III. Largo
5 Waltz No. 6 in D flat major, Op. 64/1, "Minute"
6 Nocturne No. 8 in D flat major, Op. 27/2
7 Scherzo No. 2 in B-flat minor, Op. 31
8 Nocturne No. 20 in C sharp minor, Op. posth.
9 Piano Concerto No. 2 in F minor, Op. 21: II. Larghetto
10 Nocturne No. 5 in F sharp major, Op. 15/2
11 Mazurka No. 13 in A minor, Op. 17/4
12 Piano Sonata No. 2 in B-flat minor, Op. 35: III. Marche funebre: Lento

total playing time is 01:11:35.

CD 2
1 12 Etudes, Op. 10: No. 12 in C minor, "Revolutionary"
2 Ballade No. 3 in A flat major, Op. 47
3 Nocturne No. 19 in E minor, Op. 72/1
4 Waltz No. 1 in E flat major, Op. 18, "Grande valse brillante"
5 Andante spianato in G major, Op. 22: II. Grande polonaise brilliante
6 24 Preludes, Op. 28: No. 15 in D flat major
7 Mazurka No. 23 in D major, Op. 33/2
8 Fantasy - Impromptu in C sharp minor, Op. 66
9 Waltz No. 7 in C sharp minor, Op. 64/2
10 Polonaise No. 6 in A flat major, Op. 53, "Heroic"
11 Berceuse in D flat major, Op. 57
12 Piano Concerto No. 1 in E minor, Op. 11: II. Romance: Larghetto

total playing time is 01:12:09.

Frederic Chopin - Best of Classical Music - Relaxing music for studying concentration sleep
Chopin Piano Concerto No. 1 Op.11 Evgeny Kissin
The Israel Philharmonic Orchestra
Conductor: Zubin Mehta
This performance is from the Israel Philarmonic Orchestra 75th anniversary gala concert which took place in Tel Aviv, 24 December 2011.
Rubinstein-Chopin-Piano Concerto No.2 (HD)
Frédéric Chopin Piano Concerto N.º 2 Op. 21 in F minor: Maestoso-Larghetto-Allegro Vivace-Arthur Rubinstein, Pianist
London Symphony Orchestra conducted by André Previn (HD video)
Evgeny Kissin - Chopin - Piano Concerto No 2 in F minor, Op 21
Frédéric Chopin
Piano Concerto No 2 in F minor, Op 21

1 Allegro
2 Larghetto
3 Allegro vivace

Evgeny Kissin, piano

Warsaw Philharmonic Orchestra
Antoni Wit, conductor

Fryderyk Chopin - Daniel Barenboim, Warsaw Recital 2010 (Full HD 1080p)
Frédéric Chopin (1810-1849)

i. Fantasia in F minor, Op.49
ii. Nocturne in D flat major, Op.27, No.2
iii. Sonata in B flat minor, Op.35
iv. Barcarolle in F sharp major, Op.60
v. Waltz in F major, Op.34, No.3
vi. Waltz in A minor, Op.34, No.2
vii. Waltz in C sharp minor, Op.64, No.2
viii. Berceuse in D flat major, Op.57
ix. Polonaise in A flat major, Op.53
x. Mazurka in F minor, Op.7, No.3
xi. Waltz in D flat major, Op.64, No.1

Daniel Barenboim, piano

Recorded live at the Filharmonia Narodowa, Warsaw, 28 February 2010

Frédéric Chopin Complete Ballades (1 to 4) | Tzvi Erez
0:00 Ballade 1
9:38 Ballade 2
16:43 Ballade 3
23:47 Ballade 4
All 4 Chopin Ballades performed by pianist Tzvi Erez on a Bosendorfer.
2013 Niv Classical. All Rights Reserved.
Frederic CHOPIN - Nocturnes
Maurizio Pollini plays Frederic Chopin Nocturnes.

00:00 - Op. 9, No. 1 in B-flat minor
04:48 - Op. 9, No. 2 in E-flat major
08:49 - Op. 9, No. 3 in B major
14:30 - Op. 15 ,No. 1 in F major
18:29 - Op. 15, No. 2 in F-sharp major
21:40 - Op. 15, No. 3 in G minor
25:51 - Op. 27, No. 1 in C-sharp minor
30:06 - Op. 27, No. 2 in D-flat major
34:58 - Op. 32, No. 1 in B major
39:09 - Op. 32, No. 2 in A-flat major
43:48 - Op. 37, No. 1 in G minor
49:08 - Op. 37, No. 2 in G major
55:02 - Op. 48, No. 1 in C minor
01:00:11 - Op. 48, No. 2 in F-sharp minor
01:06:46 - Op. 55, No. 1 in F minor
01:11:08 - Op. 55, No. 2 in E-flat major
01:15:43 - Op. 62, No. 1 in B major
01:21:41 - Op. 62, No. 2 in E major
01:26:57 - Op. 72, in E minor
Chopin Nocturne Op.9 No.2 (Arthur Rubinstein)
Arthur Rubinstein, 1965
Chopin - Fantaisie Impromptu, Op. 66 (Rubinstein)
Arthur Rubinstein, piano

The Fantaisie-Impromptu in C-sharp minor, Opus posthumous 66, is a solo piano composition and one of his most well-known pieces. It was composed in 1834 and dedicated to Julian Fontana. Fontana published the piece in spite of Chopin's request not to do so. The piece uses many cross-rhythms (the right hand plays sixteenth notes against the left hand playing triplets) and a ceaselessly moving note figuration and is in cut time. The opening tempo is marked allegro agitato. The tempo changes to largo and later moderato cantabile when the key changes to D-flat major, the enharmonic equivalent of the more obscure tonic major key of C-sharp major, that is, the parallel major of C-sharp minor. The piece then changes to presto (although some versions of the score incorporate a coda, meaning that the original tempo of allegro agitato is repeated) where it continues in C-sharp minor as before. It ends off in an ambiguous fantasy-like ending, in a quiet and mysterious way, where the left hand replays the first few notes of the moderato section theme, while the right hand continues playing sixteenth notes. The piece resolves and gently ends on a C-sharp major rolled chord.


Nº 10 Op.69- Nº 2 in B minor
Nº 11 Op.70- Nº 1 in G flat major
Nº 9 Op. 69- Nº 1 in A flat major
Nº 14 Op. Posthum in E minor
Nº 05 Op. 42 in A flat major
Nº 12 Op. 70 Nº2 in F minor
Nº 01 Op. 18 in E flat major
Nº 07 OP. 64 Nº 2 in C sharp minor
Nº 06 Op. 64 Nº 1 in D flat major
Nº 03 Op. 34 Nº 2 in A minor
Nº 04 OP. 34 Nº 3 in F major
Nº 08 Op. 64 Nº 3 in A flat major
Nº 13 Op. 70 Nº 3 in D flat major
Nº 02 Op. 34 Nº 1 in A flat major

Piano : Peter Schmalfuss

Kocsis Zoltán - Chopin: 19 Waltzes - Complete
19 Waltzes
00:00 01-E♭ major, 1831-32, Op.18, B.62, Coda: 04:02
04:50 02-A♭ major, 1835, Op.34/1, B.94
09:54 03-a minor, 1834, Op.34/2, B.64
15:26 04-F major, 1838, Op.34/3, B.118
17:33 05-A♭ major, 1840, Op.42, B.131
21:00 06-D♭ major, 1847, Op.64/1, B.164/1
22:35 07-c♯ minor, 1847, Op.64/2, B.164/2
25:37 08-A♭ major, 1847, Op.64/3, B.164/3
28:14 09-A♭ major, 1835, Op.69/1, B.95
31:46 10-b minor, 1829, Op.69/2, B.35
34:37 11-G♭ major, 1832, Op.70/1, B.92
36:17 12-f minor/A♭ major, 1841, Op.70/2, B.138
37:50 13-D♭ major, 1829, Op.70/3, B.40
40:22 14-e minor, 1829, B.56
43:13 15-E major, 1829-30, B.44
45:13 16-A♭ major, 1827-30, B.21
46:25 17-E♭ major, 1827-30, B.46
49:07 18-E♭ major, 1840, B.133
50:19 19-a minor, 1847-49, B.150

Kocsis Zoltán(1952-)
Piano, 1983

Chopin - Complete Mazurkas (Idil Biret)
Published on May 31, 2012
00:00 - Op.6
09:27 - Op.7
20:39 - Op.17
36:34 - Op.24
50:06 - Op.30
01:01:06 - Op.33
01:13:01 - Op.41
01:23:25 - Op.50
01:34:48 - Op.56
01:49:25 - Op.59
02:01:13 - Op.63
02:08:20 - Op.posth.67
02:15:49 - Op.posth.68
02:25:28 - Mazurka Notre Temps
02:31:45 - Mazurka à Emile Gaillard
02:34:26 - Mazurka No.55 - Op.S1 No.2a - in G (BI 16)
02:35:42 - Mazurka No.56 - Op.S1 No.2b - in Bb (BI 16)
02:37:17 - Mazurka No.59 - Op.P2 No.1 - in Bb (BI 73)
02:38:38 - Mazurka No.61 - Op.P2 No.3 - in C (BI 82)
02:40:51 - Mazurka No.63 - Op.7 No.4 - in Ab (first version)
02:42:01 - Mazurka No.64 - Op.A1 No.1 - in D (Mazuerek) (BI 4)
Chopin: Complete Polonaises (Mikhail Voskresensky - 1973 - 2 LP Set)
Mikhail Voskresensky, piano

01 Polonaise no. 1 in C sharp minor op. 26 no. 1 00:07
02 Polonaise no. 2 in E flat minor op. 26 no. 2 07:43
03 Polonaise no. 3 in A major op. 40 no. 104 "Military" 16:17
04 Polonaise no. 4 in C minor op. 40 no. 2 20:31
05 Polonaise no. 5 in F sharp minor op. 44 26:25
06 Polonaise no. 6 in A flat major op. 53 "Heroic" 36:51
07 Polonaise no. 7 in A flat major op. 61 "Polonaise-Fantaisie" 43:40
08 Polonaise no. 8 in D minor op. 71 no. 1 (posth.) 55:59
09 Polonaise no. 9 in B flat major op. 71 no. 2 (posth.) 1:01:36
10 Polonaise no. 10 in F minor op. 71 no. 3 (posth.) 1:08:39
11 Polonaise no. 11 in G minor op. posth 1:15:11
12 Polonaise no. 12 in B flat major op. posth 1:18:37
13 Polonaise no. 13 in A flat major op. posth 1:21:44
14 Polonaise no. 14 in G sharp minor op. posth 1:25:30
15 Polonaise no. 15 in B flat minor op. posth 1:30:19
16 Polonaise no. 16 in G flat major op. posth 1:34:43

Horowitz plays Chopin Polonaise Op. 53 in A flat major
Emil Gilels plays Chopin 24 Préludes Op. 28
live, 1953
Pollini Chopin 24 Preludes 1974 Live
Maurizio Pollini
Chopin Preludes [24] Op 28 , Andras Schiff
András Schiff, piano supplied by Fabbrini (Pescara, Abruzzo, Italy)
1. In C Major 0:25
2. In A Minor 1:09
3. In G Major 3:06
4. In E Minor 4:09
5. In D Major 5:49
6. In B Minor 6:28
7. In A Major 8:14
8. In F Sharp Minor 8:57
9. In E Major 11:00
10. In C Sharp Minor 12:11
11. In B Major 10:41
12. In G Sharp Minor 13:22
13. In F Sharp Major 14:39
14. In E Flat Minor 17:18
15. In D Flat Major ("Raindrop") 17:56
16. In B Flat Minor 22:43
17. In A Flat Major 23:58
18. In F Minor 27:15
19. In E Flat Major 28:14
20. In C Minor 29:53
21. In B Flat Major 31:28
22. In G Minor 33:26
23. In F Major 34:14
24. In D Min 35:18
Frédéric Chopin - Piano Sonata No. 1
Performer: Leif Ove Andsnes
- Year of recording: 1990-1991

Piano Sonata No. 1 in C minor, Op. 4, CT. 201, written in 1827-1828.

00:00 - I. Allegro maestoso
09:27 - II. Menuetto
14:17 - III. Larghetto
18:35 - IV. Finale. Presto

VICTOR MERZHANOV - Chopin - Piano Sonata no. 2 in b-flat minor, op. 35

Frederic Chopin. Piano Sonata no. 2 in b-flat minor, op. 35
1. Grave -- Doppio movimento
2. Scherzo 07:51
3. Marche funèbre: Lento 15:09
4. Finale: Presto 24:00

Recorded from a recital at the Great Hall of Moscow Conservatory on November 26, 1985.

E. Kissin plays Chopin Sonata No.2, Op.35
Chopin - Sonata No. 3 in B minor, Op. 58 (Maria Joao Pires)
00:00 - Allegro maestoso
13:42 - Scherzo: Molto vivace
16:25 - Largo
26:48 - Finale: Presto non tanto; Agitato

Maria Joao Pires, 2008

Chopin - Scherzo No. 2, Op. 31 (Rubinstein)
Arthur Rubinstein, piano

The Scherzo No. 2 in B-Flat Minor, Op. 31 is a scherzo by Frédéric Chopin. The work 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." The scherzo is in sonata form. The beginning is marked Presto and opens in B flat minor. However, most of the work is written in D flat major and A major. The opening to the piece consists of two arpeggiated pianissimo chords, and after a moment's pause, goes into a set of fortissimo chords, before returning to the quiet arpeggiated chords.

Chopin Grand Polonaise Brillante Op.22 (Arthur Rubinstein)
Arthur Rubinstein, 1958
Chopin: Etudes Op.10 & 25 - 1833, 1837
The Études by Frédéric Chopin are three sets of solo studies for the piano. There are twenty-seven overall, comprising two separate collections of twelve, numbered Opus 10 and 25, and a set of three without opus number.

"In all my life I have never again been able to find such a beautiful melody."—Chopin, on Op. 10, No. 3


Chopin's Études are the foundation of a new style of piano playing that was radical and revolutionary the first time they appeared. They are some of the most challenging and evocative pieces of all the works in concert piano repertoire. Because of this, the music remains popular and often performed in both concert and private stages. Some are so popular they have been given nicknames; arguably the most popular of all is Op. 10, No. 3, sometimes identified by the names "Tristesse" (Sadness) or "Farewell" (L'Adieu), as well as the Revolutionary Étude (Op. 10, No. 12). Although no nicknames are of Chopin's original creation, they create interesting pretext and encourage the imagination to fabricate epic works embodied by these studies.

All twenty-seven études were published during Chopin's lifetime; Opus 10, the first group of twelve, were composed between 1829 and 1832, and were published in 1833, in France, Germany, and England. The twelve études of Opus 25 were composed at various times between 1832 and 1836, and were published in the same countries in 1837. The final three, part of a series called "Méthode des méthodes de piano" compiled by Moscheles and Fétis, were composed in 1839, without an assigned opus number. They appeared in Germany and France in November 1840, and England in January 1841. Accompanying copies of these important early editions, there are usually several manuscripts of a single étude in Chopin's own hand, and additional copies made by his close friend, Jules Fontana, along with editions of Carl Mikuli, Chopin's student.

The first études of the Opus 10 set were written when Chopin was still in his teens. They rank alongside the early works of Mendelssohn as rare examples of extremely youthful compositions that are regarded as both innovative and worthy of inclusion in the standard canon. Chopin's études elevated the musical form from purely utilitarian exercises to great artistic masterpieces. At a concert in which Chopin performed his opus 25, Robert Schumann said "À la Chopin".

Although sets of exercises for piano had been common from the end of the 18th century (Muzio Clementi, J. B. Cramer, Ignaz Moscheles, and Carl Czerny were composers of the most significant), Chopin's not only presented an entirely new set of technical challenges, but were the first to become a regular part of the concert repertoire. His études combine musical substance and technical challenge to form a complete artistic form. They are often held in high regard as the product of mastery of combining the two. His effect on contemporaries such as Franz Liszt was apparent, based on the revision Liszt made to his series of concert études after meeting Chopin. Contemporary Polish musicologist Tadeusz A. Zielinski wrote, on opus 10, that "not only did they become an orderly demonstration of a new piano style and the formulas peculiar to it, but also an artistic ennoblement of this style."

Chopin's Études are not without modern influence as well. Several have lodged themselves in popular music, movies, or television shows.

Études Op. 10

The first set of Études was published in 1833 (although some had been written as early as 1829). Chopin was twenty-three years old and already famous as a composer and pianist in the salons of Paris, where he made the acquaintance of Franz Liszt. Subsequently, Chopin dedicated the entire opus to him – "à mon ami Franz Liszt" (to my friend, Franz Liszt).

Études Op. 25

Chopin's second set of Études was published in 1837, and dedicated to Franz Liszt's mistress, Marie d'Agoult, the reasons for which are a matter of speculation.

[Cziffra György] Chopin: Etudes Op.10 & 25
Frédéric Chopin (1810-1849)
Chopin: Etudes Op.10 & 25, complete

00:00 Etude Op.10/1, C major (Waterfall)
01:48 Etude Op.10/2, a minor (Chromatic)
03:07 Etude Op.10/3, E major (Tristesse)
07:24 Etude Op.10/4, c♯ minor (Torrent)
09:10 Etude Op.10/5, G♭ major (Black keys)
10:40 Etude Op.10/6, e♭ minor
14:13 Etude Op.10/7, C major (Toccata)
15:42 Etude Op.10/8, F major (Sunshine)
17:54 Etude Op.10/9, f minor
20:15 Etude Op.10/10, A♭ major
22:19 Etude Op.10/11, E♭ major (Arpeggio)
24:48 Etude Op.10/12, c minor (Revolutionary)
27:17 Etude Op.25/1, A♭ major (Aeolian harp)
29:37 Etude Op.25/2, f minor (Bees)
30:55 Etude Op.25/3, F major (Cartwheel/Horseman)
32:26 Etude Op.25/4, a minor
33:55 Etude Op.25/5, e minor (Wrong notes)
37:04 Etude Op.25/6, g♯ minor (Thirds)
38:42 Etude Op.25/7, c♯ minor (Cello)
43:49 Etude Op.25/8, D♭ major (Sixths)
44:47 Etude Op.25/9, G♭ major (Butterfly)
45:43 Etude Op.25/10, b minor (Octaves)
50:15 Etude Op.25/11, a minor (Winter wind)
53:45 Etude Op.25/12, c minor (Ocean)

Cziffra György(1921-1994)

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