Chopin, 24 Preludes Op 28 / Yuja Wang

Chopin finished the 24 Preludes Opus 28 in Majorca during the winter he spent there in the company of George Sand and her children, in 1838-39. It was no easy task. On the island, Chopin fell ill, got better, and then fell ill again. He first worked on a dilapidated rented piano until he got the pianino sent to him by Camille Pleyel, his publisher friend, pianist, and piano maker. He had promised him, five hundred francs in advance, to finish the preludes there on the island and send them to Paris as soon as they were finished.

Via Julian Fontana, a mutual friend, Pleyel was informed of progress and setbacks over two months. On November 15, Chopin wrote: "You will soon receive the preludes"; on December 3: "I cannot send you the manuscripts because they are not yet ready"; on the 14th of the same month: "I hope to send the texts very soon"; on the 28th: "I cannot send you the preludes. They are not finished. But now I am better and will work". Finally, on January 12, 1839, he writes to Fontana: "I am sending you the preludes [...] It seems to me that there are no mistakes. Give a copy to Probst [the Leipzig publisher] and the manuscript to Pleyel...".

For the 24 little jewels, Chopin charged two thousand francs. Rather, this is what Pleyel promised for the complete series after seeing in Paris the preludes that were already finished; hence, the " advance " of five hundred francs.

Reception
Published in Paris in September 1839 (with a dedication to Pleyel), also in Berlin and soon after in London, the Preludes were very well received, marveling the musical circles of the time.
Liszt asserted of them:

"--Chopin's Preludes are compositions of an order entirely apart... they are poetic preludes, analogous to those of a great contemporary poet, who cradles the soul in golden dreams..."

Schuman, somewhat more cautiously, noted:

"I must mark them as very remarkable. I confess that I expected something very different, with a lot of style, like his Etudes. It is almost the opposite, sketches, beginnings of studies, perhaps ruins.... But in each piece we find his refined, pearly writing: it is Fréderic Chopin's, we recognize it even in the pauses and in his ardent breathing. He is the most daring and haughty soul of today...".

The genesis
Although it is not at all evident in his music, Chopin worshipped Bach; already as a child, he was one of his gods (the other being Mozart). It is not surprising then that he decided to build a series of short pieces systematically ordered, in tribute to the German master, or in tribute to the Well-Tempered Clavier but without fugues: the days are different. In addition, the Polish genius had a recent model: Hummel's Preludes in all keys, fifteen years earlier. Chopin will continue the path.

Arrangement of the series
Apart from the matter of the absent fugue, unlike Bach, Chopin will arrange his 24 preludes in the major and relative minor keys by advancing through the "circle of fifths". That is, starting in the key of C major, the next prelude goes in the relative minor key of C, say, A minor. Now comes the leap of fifth: the next prelude is in G major... the next one in E minor, relative of G. Leap of fifth: D major; relative minor: B minor. Etc.

Unitary work vs. independent pieces
The particular arrangement described above has led some scholars to believe that Chopin's intention was to construct a unitary work whose parts were to be performed in succession, one after the other. But the truth is that Chopin himself rarely played more than three or four preludes in the Parisian salons, and never the complete series. In our days something similar happens: perhaps not discographically, but it is undeniable in public performances. Today's pianists may include one or two preludes as part of the program, but more often than not they give us the short pieces as an encore at the end of a concert.

The unitary work

Let us note, in passing, that there are two other pieces (some speak of three) by Chopin that fit perfectly into the style: a Prelude from opus 45, from 1841, and another in A minor without opus number, from 1843. But when it comes to performing "all" of Chopin's Preludes, even on record, the performers stick strictly to the work reviewed here: the 24 Preludes from Opus 28, whose duration in a recital does not reach 40 minutes, as happens with any sonata of the period intended to nourish the first part of a performance.

The brilliant China-born pianist Yuja Wang, treats us to the complete work in this recording at the Teatro La Fenice, Venice, from a few years ago, during the 2016 - 17 chamber music season. A gem in every sense of the term.

The 24 Preludes Opus 28

Taken individually, there are Preludes to suit all tastes. Their length varies from a scant thirty seconds to five minutes and a little more of that one that could be considered long. In terms of tempo, there are long, or slow, or andantino, or molto agitato or vivace... as shown below.

00:00  No. 1 in C major, agitato
01:21  No. 2 in A minor, lento
03:14  No. 3 in G major, vivace
04:24  No. 4 in E minor, largo
06:12  No. 5 in D major, allegro molto
06:44  No. 6 in B minor, lento assai
08:36  No. 7 in A major, andantino
09:25  No. 8 in F-sharp minor, molto agitato
11:17  No. 9 in E major, largo
12:34  No. 10 in C-sharp minor, allegro molto
13:03  No. 11 in B major, vivace
13:42  No. 12 in  G-sharp minor, presto
15:05  No. 13 in  F-sharp major, lento
18:08  No. 14 in E-flat minor, allegro
18:57  No. 15 in D-flat  major, sostenuto
24:04  No. 16 in B-flat minor, presto con fuoco
25:09  No. 17 in A-flat major, allegreto
28:12  No. 18 in F minor, allegro molto agitato
29:09  No. 19 in E-flat major, vivace
30:41  No. 20 in C minor, largo
32:13  No. 21 in B-flat major, cantabile
34:01  No. 22 in G minor, molto agitato
34:47  No. 23 in F major, moderato
35:36  No. 24 in D minor, allegro appassionato

Beethoven, "Rage over a lost penny", rondo / Yuja Wang

The manuscript of Beethoven's sprightly and charming rondo entitled Rondo alla ingharese quasi un capriccio was "lost" for nearly one hundred and twenty years. Today it is a favorite of pianists, to be used as a graceful encore, but during Beethoven's lifetime, it is unlikely to have been heard on any stage. The manuscript, apparently incomplete, was found among Beethoven's belongings after his death in 1827.

The following year, it was published by his friend, colleague, and publisher Anton Diabelli, who reportedly concealed the fact that the composition appeared to be unfinished. After the 1828 publication, the manuscript disappeared and was only rediscovered in the USA in 1945. This time it was found among the belongings of a lady named Noble, who had kept it in her possession for at least 20 years. And indeed, the original shows some discrepancies with the later versions of the Diabelli edition, all based on it.

In any case, with the discovery in hand, it was possible to know the time of the piece's composition, since the manuscript, in its last pages, contains sketches of works of known date, the years 1795-98. Thus it could be concluded that the rondo belonged to the same period. It is the work of a Beethoven in his twenties, approaching his thirties, living in Vienna for at least three years.

"Rage over a lost penny"

The piece is also known by the curious title "Rage over a lost penny, vented in a caprice". The words appear written in the manuscript but not by Beethoven's hand. It is speculated that they could be the work of his friend and first biographer Anton Schindler, who was known for often taking liberties with his famous friend, which led more than once to angry, though transitory, disagreements.

A "harmless rage"

Fantasizing that the master had indeed drawn inspiration from a fit of passing anger, Robert Schumann (who by Beethoven's death was 17 years old) would later write "...it would be difficult to find anything more cheerful than this Caprice... It is about the kindest, most harmless anger, similar to what one feels when one cannot take one's foot out of one's boot."

Marked allegro vivace, the rondo combines the traditional outline of the form with Beethoven's unique inventiveness for variations.

The rendition is by the brilliant Chinese-born pianist Yuja Wang. The piece lasts less than six minutes. 

F. Kalkbrenner, "aborted" Chopin's master

Musicologists aside, if any music lover today remembers Friedrich Kalkbrenner, it is for his inordinate claim to become the teacher of his namesake, Frédéric Chopin, when the latter showed up in Paris in 1831 and visited him to ask for tutoring. Maestro Kalkbrenner offered him three years of lessons. Chopin was enthusiastic, writing to his parents that "the best pianist in Europe" was going to take him under his wing and make him a great virtuoso. Frederic, a 21-year-old provincial boy, believed in his magic. It was not necessary. And the rapture was short-lived. After a year he gave up his lessons.

A talented pianist
Kalkbrenner certainly could play the piano and did so very well. He had given his first public concert at the age of five, in his native Germany. He soon came to study at the Paris Conservatory, where he graduated at thirteen. He lived in London for ten years, captivating the nobility of England with his prestissimo octaves and the passion he brought to specific passages. He caused a similar commotion in Paris, where he settled in 1824 as a virtuoso pianist and sought-after teacher. It was there that Chopin met him.

F; Kalkbrenner (1785 - 1849)

A composer too, but a forgotten one
Kalkbrenner composed everything: operas, sonatas, and piano concertos. But none of it has survived. It is highly unlikely that a single piece by the composer was heard in concert halls during the entire twentieth century. However, around the eighties, some enthusiasm was kindled in the record labels (the "rescue" fashion) and some of his music has been recorded ever since. At first, the short pieces, his Nocturnes, for example.

Lyricism for all tastes
Far removed from Chopin's Nocturnes (perhaps also from Field's), the works will nevertheless have moved the audiences of their time. He will be surpassed, on the piano, by far, by Chopin and Liszt. But Kalkbrenner would have cared little. Financially comfortable as a result of his successful career as a pianist and teacher, in his later years, he became a partner in the piano house Pleyel. Maestro Kalkbrenner would die rich.

Les Soupirs de la Harpe Eolienne

In a rendition by Dutch pianist Bart von Oort, presented here is the Nocturne in A flat major, opus 121 No 1, subtitled Les Soupirs de la Harpe Eolienne, recorded on an Erard piano of 1837.

Mozart, first trip to Italy / Divertimento in E-flat

Between 1769 and 1773, Mozart made three visits to Italy, accompanied by his father Leopold on all three occasions. The first trip was the most extensive. And also the most profitable if we only consider the number of commissions received by the young fourteen-year-old composer in the many cities they visited. They left Salzburg on December 13, 1769. After 15 months of sharing with the Italian nobility and the highest ecclesiastical dignitaries – for whom Wolfgang played the harpsichord and conducted orchestras –, father and son returned to Salzburg in March 1771, inebriated with Italian music and art.

Return to Milan
The successful tour soon reached the Imperial Palace in Vienna. And then it was decided to invite Wolfgang to write an opera to be performed in Milan in October 1771 to celebrate the betrothal of Archduke Ferdinand (son of Maria Theresa of Austria and brother of poor Marie Antoinette, who would later meet the guillotine) and Princess Beatrice of Modena. So a few months after returning home, the Mozart family had to leave again, this time for Milan, where they stayed for three months. The opera (Ascanio in Alba) was a resounding success, for Mozart was able to count on the best singers and the most outstanding instrumentalists who were delighted to take part in a work by the young Austrian genius.

The clarinet

Connected with those musicians, Mozart became aware of the preponderance in the Italian orchestras of an instrument that, apparently, the Austrian musicians did not recognize properly: the clarinet. And he set to work to correct the omission.

During his brief stay in Milan, Mozart composed two divertimenti in the style of the famous Italian divertimento. In both (in E-flat and B-flat), a pair of clarinets have outstanding participation, dialoguing, almost comically, with the English horns, the horns, or the bassoon.

Divertimento in E-flat major, K. 113
There are two versions of the work. One, dated Milan, November 1771, for two clarinets, two horns, and strings. The other, for wind ensemble only, excluding the clarinet, bears no date or place of composition. It is presumed that the first one obeys the Italian taste, written for the Milanese. The second is for his fellow countrymen since Mozart would not have had clarinets at his disposal in Salzburg. The discussion is ongoing. 

The first version is presented here, performed by the German C.P.E. Bach Orchestra, conducted by Hartmut Haenchen.

Movements:
0:00  Allegro
3:17  Andante
6:20  Menuetto
7:51  Trio - Allegro

Johann C. Bach, Sonata for two pianos

Johann Christian Bach was the youngest son of Johann Sebastian. After spending some time in Italy, he settled in London in 1764 having obtained the post of music master to Sophie Charlotte, the German duchess who had come to England to become queen consort to George III. They made a good match. At least they could chat in German when they felt like it. Johann Christian became so successfully integrated there that he was called "the Bach of London".

The new instrument

When he had the good fortune to meet Mozart (the opposite is not untrue), the piano had only recently been invented to replace the harpsichord for good. The story goes that it was the then 30-year-old Bach in London who introduced the little eight-year-old musician from Salzburg to the new instrument. After all, it was Johann Christian who had introduced the new instrument to London.

Johann Christian Bach
(1735 - 1782)

The society of his time

Johann Christian excelled in opera, the genre in which he achieved his greatest successes. And if he did not reach the heights of his father at the keyboard, it was not due to a lack of talent, but to the way in which his life as a musician took shape. Cuthbert Girdlestone, a modern British musicologist, puts it aptly:

"His public asks him for the music that amuses them..... His music is a succession of graceful and refined melodies. His allegros are pleasant, carefree. His andantes, tender and sometimes languid and idyllic, reflect the bucolic dream that enchanted the society of the eighties of the 18th century; his prestos are not lacking in vigor, but the whole is covered by a mask of smiling impersonality that expresses the superficial side of the society for which he wrote..."

Sonata for two pianos Opus 15 No 5

As was becoming customary, the writing for piano for four hands or two pianos responded to the demand for music for the family, intended to be performed at home, in the homes of an incipient middle class increasingly enthusiastic about art, particularly music.

Published in 1778, the sonata for two pianos in G major consists of only two Movements:

00:00  Allegro

06:20  Tempo di minuetto

The performance (audio only) is by the acclaimed duo of Bulgarian pianists Aglika Genova and Liuben Dimitrov. The imprint that JC Bach is going to leave on Mozart is obvious. So in all fairness it can also be said that in 1764 it was Mozart who was the lucky one.