Today is (probably) the birthday of Frederic Chopin, the poet of the piano, whose music I have lately been falling in love with all over again, thanks to The Complete Chopin, available for only $40. It is astonishing what a body of work this genius left behind in a life that lasted only 39 years. Listening to the sweet melancholy of Prelude No. 4 in E Minor, or the turbulence of the Revolutionary Etude, it is impossible not to be astonished by his ability to express in his music the wordless essence of a life at once buoyant and crucial; sometimes delicate, other times intimidating; tragic and desperately lovely—and yet he somehow avoids histrionics. His music is virtually never clouded by intrusive quirks as Rachmaninov’s sometimes is, or that off-putting tang that blights much of Liszt. He never wrote any single piece as beautiful as the best works of Scriabin, Rachmaninov, or some others, but unlike them, his work was consistently great, almost never alienating or awkward. At his best, he speaks directly, candidly, with a perfect illusion of simplicity. The result is a carefree dream world, in the Berceuse in D Flat Major, or a sky full of stars and silky wonder as in the Barcarolle, or the unafraid intimacy of Prelude No. 13. Most of all, the idea of freedom always seems close at hand when listening to his music, particularly the second movement of his First Concerto, which to me seems like some kind of vortex in which the piano’s voice is free to articulate its profundities without inhibition. Sad as it is that he died so young, I’m grateful he produced so much beautiful work to remember him by.
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