蜜芽传媒

Donald Macleod explores the life and work of Fryderyk Chopin, often referred to as 鈥渢he poet of the piano鈥�. Today, the composer鈥檚 relationship with his instrument is centre-stage.

Martha Argerich once said that she loved to play the piano very much, but didn鈥檛 like being a pianist. The same words could have been uttered by Chopin, who resorted to playing in public only when he needed a quick injection of cash. As a result, his reticence became a marketable commodity, giving his ventures into the concert hall such rarity-value that they became lucrative money-spinners; and it doubtless didn鈥檛 escape him that after a public appearance, sales of his sheet-music shot up. Income-generation aside, Chopin was much happier as a performer in the more intimate and sociable surroundings of the salon, where his trademark light touch could be appreciated to the full. According to one contemporary account, 鈥渉e appeared hardly to touch the piano; one might have thought an instrument superfluous鈥�. That observation is borne out by the recollections of his pupils: 鈥淐aress the key, never bash it!鈥�, he鈥檚 quoted as saying.

Etude in A flat, Op 25 No 1 (鈥楢eolian Harp鈥�)
Alfred Cortot, piano

鈥楰rakowiak鈥�: Grand Concert Rondo in F, Op 14
Jan Lisiecki, piano
NDR Elbphilharmonie Orchester
Krzysztof Urba艅ski, conductor

Mazurka in B minor, Op 33 No 4
Ignaz Friedman, piano

Andante spianato, Op 22 No 1
Benjamin Grosvenor, piano

Impromptu No 3 in G flat, Op 51
Stephen Kovacevich, piano

Nocturne in F sharp minor, Op 48 No 2
Ivan Moravec, piano

Barcarolle, Op 60
Dinu Lipatti, piano

Produced by Chris Barstow for 蜜芽传媒 Wales