Chopin, Étude No 12, Opus 25

A staid friendship
Frédérick Chopin was a year older than Franz Liszt. They were good friends but not close friends. They played many times together, in the salons of Paris, or went on stage to play four hands. They respected each other; somewhat more Franz to Frédérick than Frédérick to Franz. The Hungarian master wrote laudatory reviews of Chopin on many occasions. About Liszt, the Polish master did not write a single word (nor did he about any other colleague). On the level of musical offerings, as far as we know, the Hungarian master did not dedicate any piece to Chopin. Still, the Polish master dedicated the twelve Etudes of Opus 10, from 1833, "to mon ami Franz Liszt". 

Marie d'Agoult (1805 - 1876)

Both musicians, champions of the romantic piano of the 19th century, had their mistresses. They were both great writers. George Sand, Frédéric's companion for nine years, wrote like a whirlwind, starting a novel the same night she finished another. Marie d'Agoult, Franz Liszt's companion for eleven years, collaborated with the French opposition press under the pseudonym of Daniel Stern.

Both women were friends before they met their respective pianists. As time went by they drifted apart... Mme Sand esteemed Liszt, but Marie was somewhat jealous of Chopin's genius. At first, she would applaud him. Years later she will say "Chopin, an oyster sprinkled with sugar... the only permanent thing about him is his cough". Mme Sand will take revenge and "portray" Marie, in her style, in a novel.

Surprisingly, Chopin will dedicate the next volume of études, the 12 Études of Opus 25, to Mme Marie d'Agoult.

Twelve Études - Opus 25

Although published in 1837, ten of the twelve etudes were composed simultaneously as those in Opus 10. Only the first and last were incorporated at a later date.

Opinions on the merits of both collections have varied over the past two centuries. Some see Opus 25 as clearly superior to Opus 10. On the other hand, Robert Schumann always expressed greater regard for the latter.

Etude No. 12 in C minor, Op 25

It is also known occasionally as the "Ocean" Etude, because of the large "waves of arpeggios" that must run across the keyboard, with both hands, throughout the piece, supporting the melodic motif by octaves in the basses. The technical demands are enormous. At the end of two and a half minutes, it resolves in major mode.

The rendition, superb, is by the Russian pianist Daniil Kharitonov.

Beethoven, Piano Sonata No 13, Op 27-1

The aukward modest Opus companion of Moonlight sonata

The first years of the 19th century were sweet and sour for the master Beethoven.
He is already in his thirties and has become the fashionable pianist in Vienna. He frequents a circle of noble friends, and money is not a problem. But his deafness has already begun and threatens to become a tragic affair.

In 1801, he wrote to a friend: "My compositions bring me good money [...] I don't need to sign a contract with them [his publishers], I state my conditions and they pay me immediately".

But in the summer of 1802, he is in seclusion in Heiligenstadt. Immersed in deep regret over his loss of hearing as a musician, he writes to his brothers the famous Heiligenstadt Testament, which he closes with a heart-rending plea, "O Providence, guarantee me at least a single day of sincere joy!"

The charming Piano Sonata Opus 27 No. 1 in E♭, composed in 1801, has had the misfortune of being the companion to perhaps Beethoven's best-known sonata, the celebrated "Moonlight" sonata (Opus 27 No. 2). However, they were published separately, although both share the same apostille, "sonata quasi una fantasia", which scholars translate as "sonata in the style of a fantasia", a character that is much more proper to it than to its illustrious companion since its movements are linked (played without interruption) and the themes of one section can also be part of any other. Here, precisely, themes from the third movement are quoted in the fourth.

Indeed, this sonata has four movements, in an unusual arrangement. The first of them is not an Allegro but an Andante, very simple, almost naive. But the work gains shape as it develops. Instead of the scherzo, for example, the maestro offers us an Adagio with which he gives us one of his most glorious melodies, which alone should arouse the enthusiasm of a wider public for the complete sonata.

As was the custom, Beethoven would dedicate both sonatas to members of the nobility. In the case of the famous Moonlight, we know that its dedicatee was the condessina Giulietta Guicciardi, Beethoven's pupil of tender 17 years. On the other hand, the opus's helpless accompanist was dedicated to Princess Josephine von Liechtenstein, whose relationship with the master we have no idea.

Movements:

00:00  Andante - Allegro - Andante

06:00  Allegro molto e vivace

08:10  Adagio con espressione

11:40  Allegro vivace

The performance is by the Chilean maestro Claudio Arrau (1903 - 1991).

Mozart, Violin Concerto N° 3

A work that "could only have been written by a man of superior talent..." 

Wolfgang was only 19 when he composed the five Violin Concertos while serving, reluctantly, in the orchestra of his conceited and clumsy patron Colloredo, Prince-Archbishop of Salzburg, where he held the position of first violin.
It had been long since Wolfgang, with his father Leopold, had traveled half of Europe playing the harpsichord with Nannerl, his older sister. Both children had astonished half the world as keyboard players. Still, Wolfgang Amadeus' genius on the violin was only known to those who had been fortunate enough to hear him in Salzburg or at some modest court in the surroundings.

Leopold, who knew something about violins – he had written one of the first pedagogical treatises on the violin in history – once wrote to him in a letter: "...it happens that you are not aware of how well you play the violin". Interestingly, much later, he insisted: "If you had wanted to, you would have become the best violinist in Europe." Leopold was not aware yet that Wolfgang was to become the classical period's greatest composer.

View of Salzburg, 18th century. Engraving by A.F.H. Naumann

A year before the composition of the concertos, Wolfgang had received Colloredo's refusal of his request to travel to Vienna to make himself known and to meet other musicians. He needed to free himself for a while, however briefly, from the dejection of being in the service of His Eminence at the court he detested.

It is likely, then, that the Violin Concertos were composed with a future and definitive departure from the Salzburg court in mind. A sort of preparation and consolidation of repertoire to be presented before the courts, clearly more attractive, in Germany or France. There he could also shine as a violinist, according to his father's suggestions.

For this reason, perhaps, the five Violin Concertos were composed in record time, between April and December 1775. In comparison with the Piano Concertos, it is customary to point out that those composed for violin have a more superficial character, although, in all of them, one can see the excellent knowledge that Wolfgang had of the melodic and graceful style of the Italian school. They constitute, by the way, a precious testimony of the elegance and gallant style that, we imagine, must have been the custom at the court of Salzburg, more than two centuries ago.

Concerto for Violin and Orchestra No. 3, in G major

Structured in the three traditional movements – fast, slow, fast – this is one of Mozart´s violin concertos most in demand by audiences and performers of our time.

With the American violinist Hilary Hahn as soloist, followed by the Stuttgart Radio Symphony Orchestra conducted by Gustavo Dudamel, we present here the performance offered in 2007 on the occasion of Pope Benedict XVI's birthday, in an exquisite hall in the Vatican.

Movements:

00 Allegro   Prototypical gallant finale, though it will be surpassed in gallantry by the finale of the third movement (The cadenzas are Hilary's).

10:35 Adagio   Instead of the usual andante, Mozart incorporates an adagio with a dreamy atmosphere.

21:00 Rondo    It was Mozart himself who, somewhat jokingly and somewhat seriously, said of this movement what we noted at the beginning: "it could only have been written by a man of superior talent". No brilliant finale here, only gallantry. At its end, the piece seems to say goodbye, with supreme elegance, because it needs to take a break.