Études, opus 10 and 25 – Frédéric Chopin

 Henryk Siemiradzki - "Chopin Performing in the Guest Hall- of Anton Radziville in Berlin In 1829" (1887)

Chopin Performing in the Guest Hall- of Anton Radziville in Berlin In 1829” (1887)

Henryk Siemiradzki


no sooner does one inveigh against an
attitude than that attitude turns around
and slaps you in the face, my, however
brief, enrolments at art school, musical
conservatories, and creative writing
classes, were not, I think, without some
merit, some would even say much merit,
despite my short disparagement of them
in my last blog, there are tools for every
art, schools have the machinery to
channel inspiration

Hans Hofman must’ve believed he was
painting a Poème d’amour when he
painted it, why otherwise would he
have painted it, despite myriad
objections, and general
incomprehension, could he have
known that no one would get it, did
he care, who called it art

did Chopin know when he wrote his
first set of “Études”, opus 10, a
theoretical set if there ever was one,
a set of fiendishly challenging
technical exercises, that they would
define the Romantic Period, an era
given over to the very heart, he was
23, having fun

what is art, art is what works, art is a
consensus, sometimes you’ll get it,
sometimes you won’t, sometimes I
get it, sometimes I don’t, art is in the
eye of the beholder, just like beauty
and love

Chopin, the theoretician, produces a
resounding argument for the technical
side of composition, the cerebral, this
is perhaps why they are my favourites
of his compositions

but he hasn’t left out the very centre
of music, how it connects, how it can
carry you along, even to enchantment,
he hasn’t left out the enchantment,
these to me are poems of love

he calls them études, opus 10 and 25

who’d ‘a’ thunk it