so you think you can be a soloist – Beethoven / Paganini / Chopin

by richibi

chopin-performing-in-the-guest-hall-of-anton-radziville-in-berlin-in-1829.jpg

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

        Henryk Siemiradzki

                 ________

Chopin’s Piano Concerto no 1, written 
in 1830, is in the same mold as both
the Beethoven Violin Concerto, 1806, 
and Paganini’s 5th, a synchronous 
1830, three movements, fast, slow, 
fast, long symphonic introduction,
followed by miracles of articulation 
by the virtuosic soloist, with, however, 
differing degrees of emotional impact

Beethoven is evidently the source, 
and model, for both later compositions
having clearly preceded them by a 
number of years, but neither Chopin  
nor Paganini have the chops to match
his magisterial orchestration

Chopin, like Paganini, was confined to
essentially one instrument, of which,
however, both were utter masters, and 
manifestly and profoundly there inspired, 
but in either, once the solo part takes 
flight, the symphony is merely 
packaging, no longer an equal partner 

Beethoven has parts for all his players,
his is a conversation, not a declamation

but Chopin, 1830, had learned by then,
and integrated from Beethoven the 
lesson of how to incorporate drama
into his high wire act, the constant 
repetition of a melting air, a musical 
motive, which Paganini hadn’t, Chopin 
not only could fly, but also knew how 
to dress for it, to become a virtual 
angel of mercy and compassion up
there under the biggest of tops, his
immortality 

don’t take my word for it, though, 
you’ve probably heard already Chopin‘s 
work, a very emblem of 19th Century 
Romanticism, somewhere in your 
subconscious you know this melody,
heard it before, it’s part of our Western 
culture

not so the Paganini

what’s kicked

see above

you’ll hear your senses talking, the 
language of music and art, more
accurate eventually than any of my, 
however erudite, however informed,  
but merely ruminative, words, art 
being, once again, in the eye, the 
ear, in this case, of the beholder, 
or here, the be-hearer

listen


R ! chard

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