Farewell to Poland (Waltz, Op. 34, No. 2)

He was raised and educated in Warsaw, while the country of Poland was under foreign rule and the Polish people were longing to regain a sovereign homeland. The music included on this album reflects that strong emotional bond shared by Chopin as well.

They were inspired by traditional Polish folk melodies. Fryderyk was a sickly boy and he became familiar with them while convalescing in the countryside. These three Mazurkas feel like musical paintings of the landscapes he had seen at that time.

Having finished his education at the age of twenty, Chopin left Poland to seek success abroad. The news of the Cadet Revolution reached him shortly after he arrived in Vienna. Chopin spent the Christmas Day alone, praying at St. He was filled with grief and regret - he left those he had loved behind.

Scherzo in B minor, Op. Chopin weaved a theme from a popular Polish Christmas carol into the middle of this piece. Vienna also felt different ; it was not the same city he had visited as a debuting year-old artist during his summer vacation. By using this site, you're agreeing to our use of cookies as described in our Privacy Policy.

You can change your preferences at any time. Eugene Mursky Piano Henryk Sztompka Piano , Warsaw. Nocturne in F major. Zbigniew Drzewiecki Piano , Warsaw.

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Evgeni Bozhanov Piano , Warsaw. Mazurka in A flat major in A flat major. More often than not there is a coda.

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The Waltzes are clearly salon pieces and ought to be played as such. In this respect he was the opposite of Liszt. All in all, Chopin played no more than thirty concerts that were open to public mostly in his early 20s and he detested the experience. He was at home playing in aristocratic salons surrounded by a small and exclusive invited audience, most of them his acquaintances.

In his art and in his life he was an aristocrat, not a democrat. The standard Chopin canon comprises fourteen waltzes — thirteen under opus numbers and one posthumous. Only eight of the Waltzes were published during his lifetime. It is said that in Chopin on his deathbed instructed his publisher and friend Pleyel to destroy ALL of his unpublished works.

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Luckily for us, Pleyel did not comply and the fourteen Waltzes finally appeared as a collection in The very first and last of the Waltzes are characterized by the same rhythmical figure - one long and two short repeated notes. These two Waltzes could be seen as the first and last pages, the matching covers, of the album. The first Waltz is perhaps the most technically challenging of the set.

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The tempo is fast vivo and there are many repeated notes that should be articulated clearly. The formal structure is a typical waltz — plenty of different tunes and moods with alternating episodes, an extended middle section, and a coda. This was the archetypical waltz model that was being used and abused in the first half of the nineteenth century and Chopin simply took it as he found it. It opens with a trill this was a common gesture before the waltz proper begins and follows with the typical waltz rhythm in the left hand um tsa tsa and a melody that interacts with the rhythm by singing its line in two with the fast running inner notes — a very effective and witty decision.

Episodes and tunes follow each other seamlessly spinning more and more energy until the Waltz ends with an assertive closing gesture.

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This is a real showpiece in the very best sense of the word. The three Waltzes of Op. As the story goes, Chopin was inspired to write this piece after watching a small dog chasing its tail. True or not, it is a good story. The third Waltz, in A flat major, does not break any new ground, but follows well-established procedures a bit timidly. The middle episode is the most interesting in this rather conventional work.