Rubinstein plays Chopin

Hello all,

This week’s music is the first movement of Frederic Chopin’s Piano Concerto No. 2, performed by the legendary pianist Arthur Rubinstein.

Each instrument has a composer that defines it. At some point in history, a composer makes such a difference in the repertoire of the instrument that its musicality is forever changed. For the violin, that person is Niccolo Paganini; for the cello, Pablo Casals; for the flute, James Galway; for the French horn, Hermann Baumann. For today’s featured instrument – the piano – that person was Frederic Chopin (although I will accept arguments for Franz Liszt if you feel so inclined). Arthur Rubinstein’s interpretation of his second piano concerto is breathtaking because it captures the romanticism of Chopin while dashing off technical passages with amazing ease.

You will hear only the first of three movements in this concerto. As many of you know, the typical concerto format involves three movements (while the typical sonata has four and symphonies also usually have four). The movement is titled Maestoso, which means (loosely) “in a majestic manner.” This fits with the compositional style that Chopin was experimenting with at the time he wrote this concerto: “stile brilliante.” In the mid-1850s, Chopin and several of his contemporaries began to adopt the bel canto style of Italian composers like Rossini and Bellini. Unlike his predecessors (such as Beethoven), Chopin was not interested in crafting the perfectly balanced concerto. He was instead interested in magnifying the virtuosity of the pianist, and this first movement clearly showcases his quest for soloistic glory.

Enjoy!

T

A Piece of the Limelight

Hello all,

Our music for this week is the Rondo in G Minor for Cello by Antonin Dvorak, performed by Michaela Fukacova.  

In the early 1890s, Dvorak spent several months traveling Europe with the German violinist Ferdinan Lachner and Bohemian cellist Hanus Wihan. Over the course of those months, he realized that there was a significant repertoire gap between the two instruments. There was simply far more music written for the violin than for the cello. The Rondo in G Minor was one of three pieces Dvorak wrote in order to help the cello gain some ground.

Dvorak represented the cello well. You’ll notice right away that the piece beautifully showcases the lyrical aspect of the cello’s voice. However, the latter portion of the piece also gives the cellist a few technical challenges that provide an opportunity for some impressive virtuosity. This is consistent with Dvorak’s desire to give the cello more public recognition, particularly since it had long been viewed as a solely accompaniment instrument.  

If you’ve been with us for a while, you’ll know by now that Dvorak was a passionate Czech nationalist. His music is replete with melodies drawn straight from Czech folk tunes, and the Rondo in G Minor is no exception. The opening melody, for instance, has hints of his usual Slavic-style dance structure, and even the more virtuosic sections are tinged with a lilting dance-like texture.

Enjoy!

T