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Chopin Etude in C minor Op.10 No.12
Adam Harasiewicz, piano
Original release
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During the summers at Nohant, particularly 1839 through 1843, Chopin found quiet but productive days during which he composed many works. They included his great Polonaise in A flat major, Op.53, the "Heroic," one of his most famous pieces. It is to Sand that we owe the most compelling description of Chopin's creative processes, of the rise of his inspirations and of their painstaking working-out, sometimes amid real torments, amid weeping and complaints, with hundreds of changes in the initial concept and finally a return to the first idea.[32] She describes an evening with their friend Delacroix in attendance:
Chopin is at the piano, quite oblivious of the fact that anyone is listening. He embarks on a sort of casual improvisation, then stops. 'Go on, go on,' exclaims Delacroix, 'That's not the end!' 'It's not even a beginning. Nothing will come...nothing but reflections, shadows, shapes that won't stay fixed. I'm trying to find the right colour, but I can't even get the form....' 'You won't find the one without the other,' says Delacroix, 'and both will come together.' 'What if I find nothing but moonlight?' 'Then you will have found the reflection of a reflection.' The idea seems to please the divine artist. He begins again, without seeming to, so uncertain is the shape. Gradually quiet colours begin to show, corresponding to the suave modulations sounding in our ears. Suddenly the note of blue sings out, and the night is all around us, azure and transparent. Light clouds take on fantastic shapes and fill the sky. They gather about the moon which casts upon them great opalescent discs, and wakes the sleeping colours. We dream of a summer night, and sit there waiting for the song of the nightingale...[33]
As the composer's illness progressed, Sand gradually became less of a lover and more of a nurse to Chopin, whom she called her "third child." But the nursing began to pall on her. In the years to come she would keep up her friendship with Chopin, but she often gave vent to affectionate impatience, at least in letters to third parties, in which she referred to Chopin as a "child," a "little angel," a "sufferer" and a "beloved little corpse."[32]
In 1845, even as a further deterioration occurred in Chopin's health, a serious problem emerged in his relations with Sand. Those relations were further soured in 1846 by problems involving her daughter Solange and the young sculptor Jean Baptiste Auguste Clésinger. In 1847 Sand published her novel Lucrezia Floriani, whose main characters — a rich actress and a prince in weak health — could be interpreted as Sand and Chopin; the story was uncomplimentary to Chopin, who could not have missed the allusions as he helped Sand correct the printer's galleys. In 1847 he did not visit Nohant. Mutual friends attempted to reconcile them, but the composer was unyielding. That year, 1847, brought to an end, without any dramatics or formalities, the relations between Sand and Chopin that had lasted ten years, from 1837.[32]
Final years
Chopin's public popularity as a virtuoso waned, as did the number of his pupils. In February 1848 he gave his last Paris concert. In April he left for London, where he performed at several concerts and at numerous receptions in great houses. Toward the end of the summer he went to Scotland, staying at the castle of his great admirer Jane Stirling and her sister, Mrs. Erskine. Miss Stirling proposed marriage to him; but Chopin, sensing that he was not long for this world, set greater store by his freedom than by the prospect of living on the generosity of a wife.[32]
http://en.wikipedia.org/wiki/Fr%C3%A9d%C3%A9ric_Chopin
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