[HN Gopher] A Chopin waltz unearthed after nearly 200 years
___________________________________________________________________
A Chopin waltz unearthed after nearly 200 years
Author : perihelions
Score : 269 points
Date : 2024-10-27 11:57 UTC (11 hours ago)
(HTM) web link (www.nytimes.com)
(TXT) w3m dump (www.nytimes.com)
| pvg wrote:
| https://archive.is/tjk6Q
| mouse_ wrote:
| thanks
| atribecalledqst wrote:
| Is it possible to view the music clip from this? Am I missing
| something?
| perihelions wrote:
| Here's a direct link if nothing else works,
|
| https://vp.nyt.com/video/2024/10/15/127974_1_chopin-
| find-353... (.mp4)
| epolanski wrote:
| This is either a true Chopin composition or there's some
| brilliant musician out there able to make compositions that
| sound like one.
|
| A great execution too from Lang Lang.
| iamnotsamaltman wrote:
| obviously AI
| ageitgey wrote:
| It's funny now divisive Lang Lang is with classical
| people. The Reddit classical threads are full of people
| outraged that they had him play this and declare him the
| worst possible person in the world to debut a Chopin
| piece.
| atribecalledqst wrote:
| Thank you! I tried looking for a link in the HTML source
| for the archive.is page but couldn't find it. Maybe I just
| wasn't looking hard enough...
| munchler wrote:
| Here is a gift link to the full article on the NY Times site.
| This should allow people to hear the music.
|
| https://www.nytimes.com/2024/10/27/arts/music/chopin-waltz-d...
| pama wrote:
| Is there a link to the complete music score somewhere?
| marcel_hecko wrote:
| On the very first screen via link. 80 seconds of music.
| desdenova wrote:
| The link is under a paywall, though.
| marcel_hecko wrote:
| On the very first screen via the archive link
| https://archive.is/tjk6Q
|
| The original is not paywalled for me!?
| melagonster wrote:
| They offer limited number of free article
| rzzzt wrote:
| The original showed me a "We have updated our terms" pop-
| up over a cookie permission pop-up over a login overlay.
| pama wrote:
| Thanks! https://www.themorgan.org/music/manuscript/452191/1
| stevage wrote:
| Seems pretty plausible to me. But as usual, there's a reason this
| piece wasnt published - it's not great.
| praptak wrote:
| Mediocre pieces by otherwise great creators have huge value at
| the meta level. They add to the evidence that greatness is more
| than just being born a genius and then just cranking out
| masterpieces.
| mathgeek wrote:
| Do folks generally still believe that the "masters" are/were
| born great, rather than being born with an advantage of some
| sort (whether by nature or environment) and then leveraging
| that to achieve mastery of some craft?
| detourdog wrote:
| I don't know about born "great" but born with a different
| perspective seems reasonable. The perspective maybe
| nurtured by the environment. I think the environment could
| be a repetitive task or plenty of leisure time.
|
| I believe luck with timing is the biggest determination.
| stevage wrote:
| I do. There was nothing particularly special about Chopin's
| environment, yet he was cranking out brilliant, innovative
| works by his early teens.
| mvkel wrote:
| Great point.
|
| Vonnegut comes to mind in literature. In one of his novels,
| he even grades his other works A-F based on how good he
| thinks they were. His grades seem remarkably accurate, too,
| given my subjectivity as a reader, and his bias as the
| author.
|
| Seems like the passage of time has a role in accentuating the
| genius of artists
| sitkack wrote:
| > passage of time has a role in accentuating the genius of
| artists
|
| That makes sense, I think genius is time evolving process.
|
| One pattern, I have seen in high performers, is that they
| are competing only with themselves, using introspective
| feedback to continuously improve in an ego free way.
| mvkel wrote:
| Yes. If you come to conclusions independently and those
| conclusions survive positively for hundreds of years,
| credit is due
| scottcha wrote:
| Chopins posthumously published Nocturne in C# minor is a very
| popular piece to play/listen to. I also think there are several
| Debussy pieces he didn't want published but are very popular
| now (maybe Reverie is one if my memory serves me)
| stevage wrote:
| Ok that's fair, I play it myself. Though it's also pretty
| weird in its middle section.
| motohagiography wrote:
| After decades of liking his work, I learned one of his little
| preludes recently and now he's just freddy the disconsolate
| schmaltzmeister to me. the discovery seems too late, nobody is
| going to be that maudlin again.
| djtango wrote:
| I was obsessed with Chopin for a while then went off his
| music for many years. I have had a resurgence in my interest
| in his music. Probably due to the Chopin competition
| rekindled it alongside with finally getting hold of a piano
| again.
|
| The etudes are timeless
| stevage wrote:
| Have you tried the new Chopin podcast by Ben Laude?
| vixen99 wrote:
| Maybe unintentionally, the word 'little' is quite dismissive.
| Perhaps you're thinking of one of the three very minor
| Preludes which no one plays and not included in the 24
| Preludes Opus 28.
|
| If you do mean something like the 4th Prelude in E Minor for
| instance, should it be prefaced with a trigger warning that
| 'you're about to hear music that is - _effusively sad or full
| of self-pity; extremely sentimental_ or 'tearful; easily
| moved to tears; exciting to tears; excessively sentimental;
| weak and silly? (American Heritage Dictionary definition of
| maudlin).
|
| Written much later, would you regard Rachmaninov's Vocalise
| (1915) or Barber's Adagio (1936) as 'maudlin' not to mention
| a vast number of other compositions that explore the kind of
| intensity of feeling that is expressed in the 4th Chopin
| Prelude. Given that the pianist Alfred Brendel considers
| 'Chopin's Preludes as the most glorious achievement in piano
| music after Beethoven and Schubert' you might wonder why he
| takes a somewhat view from you. Could you be missing
| something?
| epolanski wrote:
| 1) I absolutely loved the execution by Lang Lang of it.
|
| 2) You're really looking at this in terms of modern music
| industry, which is nonsense, Chopin created music for his
| friends too and would send them the scripts.
| Jabbles wrote:
| I wonder if music experts could have identified it as a work by
| Chopin just by the sound? Obviously it's a bit late now, but it
| would have been an interesting experiment - to ask 100
| "professors of music" to guess which composer out of [1] wrote
| this newly discovered piece.
|
| [1] https://en.wikipedia.org/wiki/Category:19th-
| century_classica...
| eXpl0it3r wrote:
| Very likely. I'm nowhere near a professional nor am I giid at
| recognizing pieces/composers, but some people have such a deep
| understanding of yhe music from various composers, that they
| likely categorize it correctly.
|
| See for example Nahre Sol [1] who plays the same piece in the
| style of different composers. In order to do that, you need to
| have a deep understanding of each composer's "quirks".
|
| [1] https://youtu.be/SAtZawkqBG8
| throw0101d wrote:
| > _See for example Nahre Sol [1]_
|
| Related to her, perhaps see her video "Is Chopin JAZZ?!":
|
| * https://www.youtube.com/watch?v=YcfRqsjQA-4
|
| > _[1]https://youtu.be/SAtZawkqBG8?si=ZObBERSyYD29w4y4_
|
| Meta: The "si=ZObBERSyYD29w4y4" parameter is tracking. When
| cutting-pasting you may wish to remove it.
| perihelions wrote:
| This is topical:
|
| https://www.thepianofiles.com/the-valse-melancolique/
|
| https://en.wikipedia.org/wiki/Charles_Mayer_(composer)
|
| There was another (attributed) Chopin Waltz that was discovered
| about a century ago, and "professors of music" argued whether
| it really sounded like Chopin or not. I think they reached a
| consensus that it wasn't Chopin, but an unrelated contemporary
| called Charles Mayer.
|
| - _" In an email exchange we had relating to this discovery,
| Stephen Hough wrote (and gave me permission to publish) the
| following comments:"_
|
| - _" It was not so much the structure which made me think from
| the first time I saw the piece (1936 edition) that it couldn't
| be by Chopin but the compositional mistakes. Chopin was
| fastidious about such things and there is false note-leading,
| inaccurate spelling of accidentals and rough harmony (too many
| thirds, bad spacing). I also never thought it sounded Chopin-
| esque but much more Russian. I only put it on as a curiosity
| and insisted that the notes explain its doubtful attribution."_
| djtango wrote:
| Composers have very distinct styles my teacher would joke
| Mozart adored the triad, Beethoven the octave and Chopin the
| tenth.
|
| A fun game I like to play myself is "guess the composer". I
| think I shocked my friend the most when I watched West World
| with him and after seeing the intro only once I guessed
| correctly that it was the same composer as the Game of Thrones
| intro.
|
| Sometimes I second guess myself too much between late Mozart
| and early Beethoven but I think most the composers have their
| own hallmarks.
|
| Chopin in particular was quite idiosyncratic because his piano
| writing was fairly innovative. He came up with a lot of new
| ways to play the piano and his polish influences and focus on
| salon music is very distinct
| pubutil wrote:
| If you haven't already heard of it, you might enjoy the Piano
| Puzzler podcast[0]
|
| "Bruce Adolphe re-writes a familiar tune in the style of a
| classical composer ... [someone calls in and] listens to
| Bruce play his Piano Puzzler(tm). They then try to do two
| things: name the hidden tune, and name the composer whose
| style Bruce is mimicking."
|
| Of course, you can play along at home as you listen.
|
| [0] https://www.npr.org/podcasts/381443927/performance-today-
| s-p...
| sho_hn wrote:
| I like this one: https://youtu.be/WRfsibwR5x4
| HERMANOPRIMERO wrote:
| This reminds me of Hidden Melody from an old British quiz
| show that I loved as a child: https://en.m.wikipedia.org/wi
| ki/Face_the_Music_(British_game....
| Jabbles wrote:
| Is the joke accurate in this example? Are there many tenths?
| eitally wrote:
| Yes, and it can be quite a stretch when playing. Similar to
| Rachmaninoff in terms of "reach" (but absolutely not in
| style).
|
| (Am pianist, too.)
| fsckboy wrote:
| > _Chopin in particular was quite idiosyncratic because his
| piano writing was fairly innovative_
|
| I bow to your superior knowledge, just want to add for the
| poor shlubs who are even dumber than me:
|
| Chopin was not simply a composer, but a virtuoso piano
| player, and i guess because of that he wrote what he wrote
| for the piano; in contrast to say Mozart who performed at the
| piano but mostly composed for orchestras, etc.
|
| And the periods of time were different wrt, when Chopin was
| active, Mozart, Beethoven et al's music innovations already
| existed, along with larger audiences to play for, which
| created Chopin's niche
|
| or something like that, i'm not a music guy
| Synaesthesia wrote:
| Mozart, Beethoven, Bach and Brahms (as well as many other
| composers) were all virtuoso piano or keyboard players.
|
| Chopin is unusual in that he wrote almost exclusively for
| the piano.
| gmueckl wrote:
| My understanding is that when writing for an orchestra, a
| composer needs to adjust to the orchestra's skill level
| and likely err a bit on the easy side for good measure.
| tolciho wrote:
| Most composers, most of the time. Beethoven, on the other
| hand, refused to rewrite portions of the Ninth that were
| maybe too high for some to sing, and you can probably
| find difficult instrument parts if you chat to, say,
| Bassoon players.
| dbalatero wrote:
| Heh to quote Beethoven (from:
| https://brooklynrail.org/2007/07/music/third-party-
| beethoven...):
|
| > As practice gradually moved away from this insular
| model, and standing, virtuoso quartets replaced ad hoc
| groups as the chief vehicles of chamber music
| performance, Beethoven's compositions became increasingly
| experimental (and daunting). Legend has it that when
| Ignaz Schuppanzigh--a well-known Viennese violinist and
| Beethoven supporter--complained about a particularly
| difficult passage in one of the Op. 59 quartets, the
| master retorted, "Do you suppose I am thinking about your
| wretched fiddle when the spirit moves me?"
| fsckboy wrote:
| maybe I don't use the words right, but go to each of
| their wikipedia pages and search for the word "court".
| You will see that Bach, Mozart, and Beethoven depended
| much more heavily on the favor of the various noble
| courts, while Chopin and the later Brahms were more
| commercial (not in a bad way, just in a historical way)
| bongodongobob wrote:
| Check out Emmit Rhodes. My only music conspiracy theory is
| that he was a ghost writer for Paul McCartney. The musical
| similarities are absolutely uncanny.
| tunesmith wrote:
| There was a time when I was rather good at guessing the
| composer from hearing a snippet of music I hadn't heard
| before. We had a group exercise where I had a streak going of
| guessing correctly every time. Then our instructor tricked us
| by playing a snippet of a Chopin Concerto that didn't have
| any piano in it. :)
| BriggyDwiggs42 wrote:
| Oh wow I had no idea westworld and got were the same guy!
| Both themes were very noticeably a cut above; that totally
| explains it.
| yongjik wrote:
| Another thing to remember is that the piano was very much an
| instrument being developed during Mozart and Beethoven's
| time. There's a reason why most of Beethoven's sonatas don't
| utilize the uppermost and lowermost part of the modern piano:
| he didn't have those keys then.
|
| So, in a sense, these composers weren't writing for the same
| instrument.
| jancsika wrote:
| > Obviously it's a bit late now, but it would have been an
| interesting experiment - to ask 100 "professors of music" to
| guess which composer out of [1] wrote this newly discovered
| piece.
|
| They'd have guessed correctly. But you already know ahead of
| time that this newly discovered piece _is not_ , say, juvenilia
| written by Scriabin specifically to imitate a Chopin waltz. And
| in that case, 100 professors would have guessed wrong because
| it would not have been the obvious answer.
|
| Guessing composers based on sound/musical content alone is
| problematic for many reasons:
|
| 1. Common practice vs. composer's idiosyncrasies. Even
| separating Mozart's oeuvre from Michael Haydn's (Joseph's
| brother) has been non-trivial-- scholars have gotten it wrong
| over the centuries. Also-- IIRC there is a research paper about
| stylistic analyses leading to circular dependencies in the
| attribution of works of Josquin. E.g., A is Josquin because it
| sounds like Josquin's B, and B is Josquin because it sounds
| like Josquin's A...
|
| 2. Cross-contamination. Mozart _knew_ Michael and his music,
| and was highly influenced by it. Compare the initial fugue at
| the beginning of Haydn 's Requiem in C minor to Mozart's, plus
| the upward cascade of vocal entrances. Additionally, Schumann
| was influenced by Chopin, who was influenced by
| Liszt/Schumann/Mozart/Bach/etc. The problem gets worse as you
| go forward in history-- the next generation can take a
| composer's entire output and use it as their bible, which leads
| to...
|
| 3. Experts are also composers, and the most highly trained ones
| can write in the style of any composer whose works they have
| access to. E.g., Scriabin's set of Preludes was obviously
| written to be the _sequel_ to Chopin 's Op. 24 Preludes, (e.g.,
| Chopin's no. 1 has a few fleeting quintuplets at the end,
| Scriabin's no. 1 is _OMG all quintuplets phrased across
| barlines till the very end [engine_revving.wav]!_ ). He
| understood Chopin's formal and textural affinities, could match
| his virtuosity at the keyboard, and fully immersed himself in
| Chopin's harmonic language.
|
| I have no doubt if Scriabin had wanted to do a prank (or, more
| likely, an exercise) by writing a piece to fall convincingly
| into Chopin's oeuvre, he could have done so at any point in his
| career.
|
| Plus...
|
| 4. Confirmation bias. I _really_ want this to be a newly
| discovered waltz by Chopin![1]
|
| These are the reasons an article like this mentions things like
| paper, ink and handwriting analysis.
|
| 1: Digression-- scholars also like to omit things that they
| feel don't reflect well on their favorite composer. For a fun
| example, see:
| https://en.wikipedia.org/wiki/Mozart_and_scatology
| tristramb wrote:
| Not now that AIs can generate music that sounds like any
| composer.
| t0bia_s wrote:
| Not any. If you are careful listener, you can hear musically
| nonsense (AI hallucinations) compositions. Of course it
| depends on genre.
| acheron wrote:
| Chopin is pretty distinctive. I think the question would be if
| someone could identify it as "actual lost Chopin" vs "modern
| composer trying to imitate Chopin".
| Archelaos wrote:
| The question is, if someone who is a grand master in
| identifying the "modern composer trying to imitate Chopin"
| knows so much that his own Chopin imitations become
| (statistically) undistinguishable from Chopin's own
| compositions for anyone else. (Except for experts who know
| every piece of Chopin and thus do not need to identify them
| by style, but can use "brute force".)
| lostlogin wrote:
| AI will help/hinder this depending on individual views.
| mrbonner wrote:
| I gotta say that with Bach and Mozart, I feel like I could id
| their pieces consistently. They have a distinct pattern of
| symphony and motifs no other composers could mimic.
| jhdias wrote:
| No famous composers would want to mimic. Plenty of unknowns
| can mimic.
| powersnail wrote:
| Fritz Kreisler faked some old composers'---e.g. Vivaldi's
| ---work, claiming to have discovered some unpublished
| manuscripts, but later revealed that they were his own
| compositions all along.
|
| It was mostly a prank on the music industry, but
| nonetheless, mimicry of style was involved, and was enough
| to fool many people for years.
| klodolph wrote:
| Famous composers mimicked other composers plenty, or
| parodied other composers, copied them or played homages.
| Mimicked, yes, famous composers definitely did mimic other
| composers.
|
| Prokofiev Symphony No. 1 is one of the more famous. It
| mimics Mozart and Haydn (obvious choices!)
|
| Stravinsky's Octet is another.
|
| There are plenty of other examples. Those are just two of
| the more obvious ones. Bach did it. Beethoven did it.
| Mozart did it.
| gmueckl wrote:
| I guess the subtle distinction here is that these great
| composers probably did it because they simply could do it
| as one deliberate choice among many. Lesser composers may
| be stuck mimicing a few styles because they lack the
| skill to go beyond them.
|
| But if some unpublished work mimics a certain style, I
| would assume that it is an exercise to gain a better
| understanding of that style.
| mrbonner wrote:
| Huh? Bach was the greatest recycler of all time. His
| keyboard suites were all styled after popular dances in
| Europe: the Allemande, the sarabande, courante and gigue.
| He just one upped them to a whole new level.
|
| If you listen to Haydn's sonatas, do you feel the
| resemblance of Mozart's? Well, because Haydn taught both
| Mozart and Beethoven.
|
| Nothing is new under the sun, my friend.
| shadowmanifold wrote:
| You wouldn't have to be a professor of music for this.
|
| Chopin has a unique style and it is a waltz.
|
| This would have been a trivial question for any piano music
| lover.
|
| The only reason I might not have have guessed Chopin first is
| it seems too obvious and easy if I had been asked. A new
| Beatles song might be harder to guess than this.
|
| I think it sounds pretty good too but I would want to hear it
| performed by a pianist who I like the way they play Chopin to
| judge it better. It sounds quite good considering I don't
| really like the sound of the piano that is being used.
| Tycho wrote:
| I think the only composer who sounds at all like Chopin is
| Scriabin.
| richardfontana wrote:
| Agreed, though I'm sure there were more obscure composers who
| imitated Chopin.
|
| Scriabin's op. 11 https://en.wikipedia.org/wiki/24_Preludes%2
| C_Op._11_%28Scria... particularly shows Chopin's influence. I
| have to admit I like these Scriabin preludes more than
| Chopin's work.
| mathgeek wrote:
| Sounds like a great excuse to remaster/remake Endless Sonata.
| andrewstuart wrote:
| I always assume these"long lost works" are fakes.
|
| How do they know they aren't?
| detourdog wrote:
| I bought an old school building from The Broude Brothers sheet
| music archive.
|
| https://imslp.org/wiki/Broude_Brothers
|
| In addition to all the publishing activities they also acted as
| verification service. Apparently it was common for Conductors
| to modify compositions which over time drifted from the
| original.
|
| My understanding was that the family collection of sheet music
| stretched back in time so they could verify the modifications.
|
| The building had about 12,0000 square feet stacked floor to
| ceiling sheet music.
|
| Much of the sheet music ended up at the library of congress. I
| can believe things could be both archived and lost.
| analog31 wrote:
| Indeed, I'm a jazz musician. There's huge amounts of material
| created for the so called "big band" that exists only in
| someone's basement, or is learned about by word of mouth.
| lioeters wrote:
| Rhymes with the "new" Mozart composition rediscovered last month.
|
| > While compiling the Kochel catalogue's newest edition - an
| authoritative list of all of Mozart's documented musical works -
| classical music researchers rediscovered the manuscript of the
| previously unknown piece from the Carl Ferdinand Becker
| collection in Leipzig's music library.
|
| https://en.wikipedia.org/wiki/Ganz_kleine_Nachtmusik#Redisco...
| (Sept 2024)
| Aidevah wrote:
| Yes, although they are either juvenilia or relatively small
| pieces that would not greatly change our understanding of the
| composer in question.
|
| On the other hand there is another piece of music "recovered"
| this year not by rediscovery but by recomposition/restoration,
| and it's quite a substantial piece that should provide quite a
| useful new perspective on the composer[1][2].
|
| [1] https://www.hyperion-records.co.uk/dc.asp?dc=D_CDA68460 [2]
| https://doi.org/10.1093/em/caad055
| 43natashalog wrote:
| huh
| G_o_D wrote:
| Few slow tempo notes seems like i heard in some old indian drama
| hatim soundtrack
| rurban wrote:
| Kirill Gerstein played it Friday in his Tschaikowsky concert in
| Dresden. I didn't like it that much, compared to Tschaikowsky's
| 1st and a Rachmaninoff. And the two modern pieces by Fagerlund
| and Lutoslawski. Esp. Fagerlund blew away all the others.
| visarga wrote:
| From now on we must be wondering if AI was used to assist a
| forgery whenever we "discover" old lost music.
| plunderer wrote:
| https://www.nytimes.com/2024/10/27/arts/music/chopin-waltz-d...
|
| https://vp.nyt.com/video/2024/10/15/127974_1_chopin-find-353...
|
| https://archive.is/tjk6Q
| jb1991 wrote:
| As far as Chopin waltzes go, this is certainly not among his
| best. It almost feels unfinished. I wonder if he dashed it off
| quickly as a gift (suggested in one of the articles about it)
| rather than ever as an intent to have published.
| brilee wrote:
| I transcribed the score, available here:
|
| https://www.moderndescartes.com/essays/chopin_waltz_posthumo...
| odyssey7 wrote:
| This is genuinely a good waltz.
|
| Sometimes, they will discover a lost piece by some known
| composer, and the media will pick it up. But imo, when you have a
| listen, it often turns out that the piece had been lost for a
| reason.
|
| What makes this waltz remarkable as a new discovery, in my
| opinion, is that it is more or less a finished work; the
| composition is so distinctively a work by Chopin; and the work
| brings something novel to the oeuvre.
|
| ----
|
| As for the debut, I think someone involved could have been more
| thoughtful. It feels as if some people in NYC saw a chance to be
| the first to debut, and they ran with it. It was published in the
| NYTimes, with a New York-based pianist, with New York's "Steinway
| Hall," which reads like a product placement. Chopin wrote these
| intimate pieces for the acoustics of small, intimate settings,
| and for nothing like a modern Steinway concert grand piano.
|
| Maybe they could have instead worked with some local cultural
| organization in Poland, which could have made the debut a
| significant local cultural thing? Maybe taking the chance to
| promote an early-career pianist from Chopin's homeland, rather
| than the career of a world-famous New Yorker?
| gdevic wrote:
| Agree. Lang Lang is all about theatrics, also.
| tzs wrote:
| > This is genuinely a good waltz
|
| I thought that waltzes in classical music were meant to be
| danced to. Listening to the performance from the Times article,
| I'm not sure how one would dance to this. I'm not hearing
| anything that tells me which notes I should be syncing movement
| to.
|
| What makes it a waltz instead of some other form that happens
| to be in 3/4 time?
| odyssey7 wrote:
| Chopin is associated with waltzes and mazurkas, both of which
| are dance forms in triple meter.
|
| A mazurka will emphasize either its measures' second beats or
| third beats. This might be kind of difficult to identify in
| Lang Lang's interpretation, but a waltz differs from a
| mazurka by having a more steady tempo and by placing the
| emphasis on the first beat of each measure, usually matching
| what you were probably expecting.
|
| I'm not sure how many of Chopin's dance-form pieces were
| meant for actual dancing, but it is fairly common for
| composers to write according to stylistic elements of a dance
| form without intending the work for an actual dance.
| alkyon wrote:
| Lang Lang doesn't need further promotion, but still his
| showmanship is really not in the spirit of Chopin's muisc.
|
| I would like to hear an interpretation of it by someone who won
| International Chopin Competition in Warsaw in the recent years
| (like Blechacz or Liu for instance).
| jakubadamw wrote:
| Thank you for this comment.
|
| > Maybe they could have instead worked with some local cultural
| organization in Poland, which could have made the debut a
| significant local cultural thing?
|
| I suppose the NYTimes could not be bothered to look for someone
| to work with in Poland or Europe generally (France would be
| another option), which is, indeed, a shame. In my home town
| Krakow we have a wonderful chamber music collective which
| performs music from this very period on historical piano
| fortes, so very much the kind of instruments Chopin would play
| on himself. I contacted them immediately after reading this
| article and before your comment appeared. I am hopeful we will
| hear the piece performed by them very soon!
| aziaziazi wrote:
| Thanks ! Fantastic ! Please share it here when ready !
| alkyon wrote:
| This is not about handwriting, the key thing is that this really
| sounds like Chopin - a true signature is there even if not
| written by hand.
|
| I can't recommend more Alan Walker's "Fryderyk Chopin: A Life and
| Times", which I happen to be reading now.
___________________________________________________________________
(page generated 2024-10-27 23:00 UTC)