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Title: Grand Valse Brilliante - Chopin
Year: 2005
Zach's Role: Piano
Description: A contemporary of Mendelssohn, Frédéric Chopin (1810-1849) grew up in Warsaw, and began his musical studies at a young age. After moving to Paris, Chopin received help from Kalkbrenner and Pleyel, praise from Liszt, Fétis and Schumann and introductions into the highest society. A proficient if quirky piano player, his legendary artist's image was enhanced by frail health (he had tuberculosis), attractive looks, sensitive playing, a courteous manner and the piquancy attaching to self-exile. He did not perform much, but focused mainly on publishing music for piano.
No great composer specialized in the piano as did Chopin. Quite at home with the keyboard, Chopin often composed simply by transcribing his improvisations. His compositions are often innately pianistic, often arranging for a simple texture of melody. But we cannot overlook his conspicuously innovatory harmonies either. Through melodic clashes, ambiguous chords, delayed or surprising cadences, remote or sliding modulations (sometimes many in quick succession), unresolved dominant 7ths and occasional excursions into pure chromaticism or modality, he pushed the accepted procedures of dissonance and key into previously unexplored territory.
Austrians dancing. This first thought to steal unbidden into my mind upon hearing this piece tells you much about it, as well as a little bit about my musical ignorance. A piece with varying sections, yet an overall consistency, this waltz demonstrates Chopin’s gift of writing for the piano. Though this piece was not intended for dancing, we cannot ignore the dance foundation of the genre, with its pleasant, lilting triple feel, and its strangely soothing emphasis on every downbeat. The opening theme gives way to a second section, and then a third, each one changing keys by a fourth. Each section has its own development section, sneakily venturing in one instance into the relative minor, before returning to its own opening theme (an AABA or AABABA form for these sections). Unexpectedly, Chopin’s final theme is only heard once before transitioning into a reprise of the opening theme, building humorously to a quite grand finale.