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Albumblatt, Allegretto, Allegro de Concert, Andantino | Ballades | Barcarolle, Berceuse, Bolero, Bourr�es, Canon, Cantabile | Concertos | Contredanse, Duo Concertant, Ecossaises | Etudes | Fantasias, Fugue, Funeral March, Galop Marquis | Impromptus, Largo | Mazurkas | Nocturnes | Polonaises | Preludes | Rondos | Scherzos | Sonatas | Songs | Tarantella, Trio, Variations | Waltzes

This text is for reference purpose only and may not be used in any way or modified without my permission or citation.

Albumblatt E major (Feuille d'Album / Moderato), 1843

The Albumleaf was written in 1843, with a dedication to his pupil Countess Sheremetieff.

Allegretto, F sharp major, 1829

Allegro de Concert, A major, Op. 46, 1841

Chopin drafted the first few notes of the allegro de concert around 1832. He first intended to make it the third piano concerto but finally decided to stay with the piano solo version in 1841 and dedicated it to Mademoiselle F. Muller. A development of Chopin's success in his first two concertos, yet it is not frequently heard and played among listeners. The opening subject contains passages of staccato chords and octaves, suggesting the concert motif right in the first place. The melodic phrase comes in a way which is as recitative as usual in Chopin's concertos. The second melody comes after a march-like presentation. After some modulations, the middle lyrical section in E major comes as a central part to the piece. It develops to cascading and conversation-like passages that end with the trills to the orchestral part, which is now played by the pianist alone. The melancholic section in F sharp minor returns to the optimistic part in A major that repeats the main theme in a more dramatic form. The octaves then conclude the work as effectively as the orchestra could have performed. There has been an idea of reconstructing this work with the orchestra part; any modification of the composer's original creation however might not prove its effect.

Andantino "Wiosna", G major, 1838

The song "Wiosna" was written in 1838 based on a poem by Chopin's exile friend Stefan Witwicki. It was unclear when Chopin transcribed the song for solo piano. It was also interesting that Chopin did not make any piano arrangement for his other songs. The melody is simple yet sad. Franz Liszt also transcribed this song for solo piano. Liszt's version is twice longer and employed more decorations in the upper octaves. Chopin however stayed close to the original song and perhaps he just wanted to feel the spring tone when there might be no need for the voice.

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CHOPIN : THE POET OF THE PIANO - � by Anh Tran. All rights reserved
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