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Thank you, Chopin4life:

As I submit the 5,000th post, I am overwhelmed with a sense of joy and sadness. How can I thank all of you who have made this thread what it is today? I wish you all the happiness your hearts can hold.

Not only is this the largest running tribute to the memory of one man, it is also an expression of love and admiration for a composer who has no equal. My life has been so enriched by his music that I can't even imagine a world without it. But my heart is also heavy because he will never know how his music has affected so many. Tens of thousands, throughout the centuries, have listened to his gentle musings and violent storms and have taken him as their own. He speaks to us in ways we can't explain, but we know, we know, finally.

I am teaching a class next year at the local comunity college called: "Chopin, The Man, The Music, The Myth." I haven't taught in 5 years, so I look forward to getting back into the classroom. This will be my gift to him. It will be a labor of love, and I will make every effort to open the hearts of each of my students to the beauty and passion that is Chopin.

CHOPIN RULES!

God bless,
Kathleen

Kathleen, congratulations on the 5000th post. I'd hoped it would be you. As for your sadness, remember that Our Friend at least had the experience of being appreciated in his own time even though I doubt if his full measure was taken (though Schumann had a good idea).

I just got the Garrick Ohlsson's box set of recordings of Chopin's Complete Works this morning. There are sixteen discs, so it will take a while to hear them all; I've been sampling this and that, partly to hear the different sounds of the Bosendorfer Imperial, Mason Hamlin CC, and Steinway (D, I presume, and since it was recorded in Warsaw I further presume it was a Hamburg, though it doesn't say).

It's probably old news to many of you, since the recordings were made between 1989 and 2000. They were originally released on Arabesque, and are now re-released as a set on the Hyperion label (B&N item no. 0034571143514). It might pay to wait for a sale, since the set wasn't exactly a Red-Tag Special. I happened to be looking for works by Ohlsson since his concert here last year; even though he lives right here, his recordings are somewhat hard to find. He gave us a wonderful concert, but I think these recordings are better than the stage performance. For one thing, the shadings of dynamics are a lot easier to appreciate, and of course the differing voices of the instruments he used, and the atmosphere of the several different halls where they were recorded.

The liner notes not only credit the instruments that were played, but the technicians as well; questions that are often asked, but seldom answered. I think it made a difference that he was contracted to perform the complete works as a whole from the outset, rather than patching together a set of various old releases from different projects.

So... since I can't join in the excitement of going off to Poland, at least I can hear some of it where I am, and without the jet-lag.

Thank you, Frycek. If memory serves me correctly (and it doesn't too often), I beleive you were the very first response to this thread, so many months ago. I was and continue to be overwhelmed with the extent of your knowledge of Chopin. Those first few weeks, it was only you and me. Did we ever dream that we had started something so wonderful?

And I am sure you know that that trip to D.C. was THE experience of a lifetime for me. I doubt if we talked of anything else but Chopin. I should say that you talked; I listened. I learned so much from you, for it is always a good idea to keep one's mouth shut when in the presence of an expert. I can recall that trip almost in complete detail. Oh, then how excited you were when Hershey appeared on our thread. I can remember getting on the computer that day, and findin the message: "Kathleen, where are you?" I was actually jumping around the room with excitement. My poor hubby is used to many of my antics, but this one was new to him. Then I made the mistake of calling the Polish Embassy, and that obvisouly was a no-no. The screen won't let me type anymore. Would someone please let me know why?

Kathleen - how exciting that you are soon going to be teaching others about Chopin. I am sure your love and enthusiasm will win him even more devotees. Does this start in January?

Welcome, Jeff Cleff:

I believe that Garrick Ohlsson's recordings of Chopin's preludes were the very first I bought way back when I was a teen. I loved his interpretation. And still do to this day. He never received the credit he deserved. I presently own Rubinstein's complete collection (minus the etudes) and Ashkenazy's. I am hopelessly in awe of Rubinstein's performances, but I do have to say that Ashkenazy is a very close second. Budget concerns prevent me from buying any more.

You sound like quite an expert on the details of specific recordings. Do you like to compare certain performers? What do you look for? Do you follow using sheet music?

I admit that I really admire people who can do this. I tend not to make any distinctions because, quite frankly, I don't possess the knowledge of the music to do so. I just know what I like and what I don't. As I have mentioned many times, I don't care for any of Martha's recordings. Much too fast, in most instances. And Pogo - yikes. What planet is he from?

Post again soon. We are always happy to hear from everyone.

Kathleen

Hello again:

I spent all of yesterday, trying to get my course outline ready for the class on Chopin. I am lucky that I have unti next winter (spring semester) to finalize it. Wow, there is so much music I want the students to hear. Some of his most popular, of course. But many of the mazurkas, nocturnes and etudes', etc. that may not be so familiar. Pardon the analogy, but it's akin to choosing between a hot fudge sundae or a bannana split. Frankly, I could eat both!!

My best,
Kathleen

I was just listening to a quartet-accompanied version of Chopin's concertos:

Kuschnerova classic radio

I don't like it at all (I mean the quartet sound as opposed to full orchestra), but thought it might be of interest. The piano part is nicely played IMO.

Hi: MaryRose: I didn't care for it either. But then I don't like chamber music. I think it is enjoyable for the people who are taking part in it.

K

I agree. Chopin sounds the best for piano solo. He is THE piano master. Without him piano playing just wouldn't be what it is.

CA

I wonder what modern pianiasm would be like without both of its great 19th century figures, Chopin and Liszt. I wonder how prominent the piano would be in classical music today if neither of them had lived. Anyone care to speculate? Would there even be a Piano World?

I'm not sure what you're agreeing with.

Chopin wrote at least ten pieces for piano and other instruments, and I would much rather hear the music the way he wrote it than transcribed for piano solo. Even a piece in which the orchestra has such a minor role as the Grande Polonaise Brillante Op. 22 is, to me, preferable in its original form.

Steven

Edit: Obviously, it's okay to prefer the music Chopin wrote for solo piano to the pieces written for piano plus other instruments! I'm sorry if I misunderstood.

Frycek, I'm intrigued by your accidental word "pianiasm." In homeopathy, a miasm is an inherited tendency toward a certain type of illness. Perhaps a pianiasm is an inborn tendency to become addicted to the piano?

Sometimes I try to imagine what the world would have been like without Chopin, or perhaps even more inconceivably, without Bach. We often think that an individual can't make much of a difference, but clearly some individuals are pivotally important.

(It never occurred to me to consider a Liszt-less world, but that's hard to imagine too.)

Elene

Hi MaryRose: I don't know how I missed your post about my teaching a Chopin class. I appreciate your support and kind words. What really made me angry and, as a result, was a factor in my creating this course, is that neither of world-class orchestras in my area is offering anything Chopin for the next season. I was/am rrreeeallllyyy angry. I couldn't believe that they completely ignored Chopin on the 200th anniversery of his birth. To further add to my ire...when I informed my husband, ladyfriend and sister of my plans, they ALL asked me if there would be enough people interested in Chopin to enroll. AARRGGGHHH!! I told them that my class would fill so quickly that I would have to turn many away at the door.

The class won't start until mid February, so I have plenty of time to reread the 20 biographies I have on my shelf and immerse myself in all of his music, over and over again. I plan on spending the first 20 mintues or so discussing some of the highlights in Chopin's life, starting from his birth. I will show several transparancies of people/locations from that time period. Then the remaining 1.5 hours of the class, I will devote to a brief discussion of a specific genre and play clips of several recordings of that genre. This will be the most difficult challenge, since there is so much music from which to choose.

I was asked to provide a brief "blurb" for the class catalog. Here it is:

Chopin has been called the “poet of the piano.” His music referred to as “canons buried in flowers." Amazingly, his music has not only survived two centuries but continues to thrive, intrigue, inspire and enchant to the present day. Who was this genius? What is it about his music that has affected thousands and moved many to tears? The depth and breadth of his legacy is extraordinary, from joy and tender melancholy to furious anger, pride and defiance. The man, himself, was a paradox – gentle and refined. But many of his creations contradict this impression. We will touch upon those highlights in his life that drove him. But his music will be the star, for Chopin is his music. We will also discuss and listen to clips of several of his most popular compositions and to many masterpieces that have gone somewhat unnoticed. This class promises a feast to the ears and heart.

Is it a bit too sappy?

Dear Steven:

You might remember the book that Monica suggested we read many months ago:

Your Brain On Music

I recall the author stating that the music we hear as we are growing up is the music we like as adults. I was not even aware that Chopin wrote any music other than for the piano (except for the 2 piano concertos) And I think I am not alone. It was you who informed me of his music for the cello and violin. I purchased a CD and listened to to the recording several times. But, in truth, and Chopin or not, I just couldn't "get into them." I know I have been brainwashed, but at the age of 70, I don't expect my preference will change. But I thank you for enlightening me.

My best,
Kathleen

Funny you should mention that today. This evening, I am going to hear- for the first time- Chopin at the BSO! (Boston Symphony Orchestra)
It is their opening night for the new season, and among the performances will be Chopin's Concerto #2 in f min, with Evgeny Kissin at piano. I cannot wait to hear it, and can't help but think it's about time!

Oh, Kathleen, don't you even like the cello sonata?? Have you heard Emanuel Ax and Yo-Yo Ma play it?

I'm fond of the piano trio he wrote at age 18, but I know that puts me in somewhat of a minority, and that it isn't played much because the violin part is in an inconvenient range.

About your blurb for the class, it seems fine to me overall. Cannons, not canons, though (sorry, editor brain)... you got me wondering whether there are any canons in Chopin's work?

And it seems like his music has affected not just thousands, but millions. Maybe even billions!

(How many people on this planet can hum the Funeral March theme? Or Beethoven's "Ode to Joy"? The number has got to be well over a billion.)

Elene

Chardonnay, yes, it's about time. I hope you enjoy the concert hugely.

How is the BSO doing with the financial downturn? Our NMSO is having big problems right now-- tried to cut the musicians' pay and benefits drastically, like not paying for health insurance at all, and the musicians haven't been willing to go along. They're all in negotiations, and the beginning of the season has been postponed. I don't think that's ever happened before, even during other financial crises. I have tickets for an Olga Kern performance that was supposed to take place in a couple of weeks, but now we don't know when or even if it will happen.

Elene

Preferring piano music to orchestral music or chamber music or any other kind of music is a matter of personal taste and requires no defense. But although this is a piano-centric community, I don't know what would explain lack of knowledge of the elements of a beloved composer's oeuvre beyond solo piano. The first score one purchases is likely to list the other works in the publisher's catalog; in Chopin's case especially, that list isn't long. Any book about him would be expected to treat all categories of works as well.

I have no doubt that as adults we like the music we grew up with, but it's less plausible that it's the only music most of us like. It's common enough to appreciate new genres entirely, and no stretch at all to think that curiosity would mean ever greater familiarity with what we love the most—especially when its breadth and depth is quite limited.

It would be unsurprising if the general public is acquainted only with Chopin's solo piano works. In a community of pianists and admirers of Chopin's music specifically, though, I would expect a much higher level of awareness. Even if our passion is rarefied, there's nothing recondite about the basis for it; the information is freely available. (If you've been brainwashed, Kathleen, it may be in the belief that your knowledge and understanding need be so circumscribed.)

Nobody need feel pressured to like anything, but I do think that avid enthusiasts should want to know as much as they can.

Steven

Elene: At first I was horror-stricken that I had misspelled "canon." But the quote came from Schumann, as such:

"If the mighty autocrat of the north knew what a dangerous enemy threatened him in Chopin's works in the simple tunes of his mazurkas, he would forbid this music. Chopin's works are canons buried in flowers." I do believe the canons are the national pride so many believe Chopin wrote into his music.

Perhaps they spelled it this way then or Schumann was mistaken. Anyhow, I do have a valid reference. And I agree that millions have been affected, but I was a bit concerned that I might be overdoing it. I will have to find that CD and listen again. I do love the cello.

And my blood boils when I hear of new sports stadiums being built while the local orchestra is begging for funds. I know that "sports" is a business not an athletic compeition although it seems otherwise. If only students were introduced to the classics early on in school. I believe this might change the current state of affairs. When I taught English and grammar, I made it a point to have the students write an essay in class after listening to a classical compostion, usually Beethoven. I just felt I had some kind of obligation to give the kids a taste of something magnificent. Whether it sunk in...? Who knows?


Chardonnay: And just what is your excuse for letting us know so late about the Kissin concert? I know that LisztAddict is a big fan of his.