Why I like Chopin
I'm always asked "Who is your favorite composer?" I always answer "Chopin" with a sort of weird gleam in my eye. I know that there are a lot of pianists who answer similarly. Those who try to be the mavericks or what not would usually say some sort of off the wall type of composer like Alexander Scriabin (who's wonderful, don't get me wrong) or go really far back and say C.P.E. Bach (instead of J.S. Bach).Well, there are reasons other than "Chopin's the man. His music just sounds good." While this is true, I'm sure a lot of us pianists believe that Chopin's more meaningful than this. But it's hard to articulate. If anything, I think Ms. Alicia Keys said it best when she said "Chopin is my dawg. His preludes are vicious." Vicious indeed, Ms. Keys. Vicious indeed.
After doing some reflection, I'd have to say that Chopin's the best. Hands down.
What about the other composers like Mozart, Bach, Beethoven or even Rachmoninoff or Lizst, you may ask? How can I explain this????
Mozart-- he appeals to my mathematical and methodical mind and it's often fun to play (whether the piece is in major OR minor). Mozart's like the boy who's up front with you at the beginning and everything will always be good. There's always a bright side, even if any situation is dismal. He will always call you when he says he will. He will always be at home at exactly 6:05pm like he had been doing for the past 3 months/years/decades. This is all good, but it's so predictable. If you go for security and someone who goes by the rules, then Mozart's your guy. (The funny thing about Mozart, as with the "safe guy" is that there are some pieces that surprise the heck out of you-- even Beethoven-esque... but he only shows this for the "special" times. (wink))
Beethoven-- Good Lord, he's EXCITING-- but sometimes he wears you out because it takes a lot out of you, physically and at times, mentally, to play. Beethoven's like the boy that you like immediately because it seems like there's just soooo much to learn and everything you do with each other seems like an adventure! All the time! But that's the problem, it's ALL THE TIME!! You don't get a break and you wonder if this guy actually ever sleeps. (Pianist note: But you know you're the bomb when you do learn that Pathetique Sonata-- Appassionata, here I come!)
Bach (J.S., not Carl Emmanuel)-- It seems like no matter how much you try to practice any of his pieces (especially his fugues), you can't mentally, musically or even kinesthetically retain it-- it's not melodic, there's often no theme and you have to start from scratch if you don't practice like every three hours per day. (But if you do succeed in learning these ding dang things, you'll often be rewarded with some verbal lifetime achievement award from your teacher and peers-- Bach pieces are just plain tough). For the boy comparison, it's like the boy you try to make laugh or smile or whatever, but no matter how hard you try, you can't get through to him. But if you wear him down enough, you'll probably find that soft spot and make your way through and it all seems to make sense right then and there and everything in the past makes sense. But you're like 80 years old by then.
Rachmoninoff-- Wonderful music, wonderful man-- his piano concertos are just off the chain. But he's difficult b/c of phsyical limitations. Because Rachmoninoff's hands were big and his fingers were extra long, he wrote music for people with extra long fingers, it sometimes seem. I have long fingers (but that's relative-- I'm also 5'1), but my other pianist friends with long fingers can barely do some of these pieces--- even my 6'3 friend has trouble reaching those chords that cover more than an octave and a half (sometimes even have problems "rolling" the chords). As far as the boy comparison goes, teehee, he's like the boy that you think you can't have and it seems like only a select group of girls can have him-- like a supermodel boy will only go out with supermodel girls. Now, there are some of us girls who are below 5'9 and weigh more than 110lbs who believe we can have whomever we want and go for that boy-- and this is the attitude one must have in order to approach a Rachmoninoff piece-- but it takes a lot of self confidence and skill to build such confidence.
Lizst-- he's like the flashy boy you just don't want to talk about right now.
But Chopin, he maintains a nexus of all of the aforementioned troubles with the other composers-- the thing that is different is that there IS reward. Several actually. One of the rewards is a sense of achievement-- while the piece was tough to learn, you were able to memorize it one way or another. Another reward is that all of the theory that you've learned has in one way, shape or form, has been addressed-- all of the Etudes for instance. Do two of those bad boys, doesn't matter the combination, and you're good to go.
There's also a sense of personal/spiritual fulfillment, from my persepctive. Chopin has a sense of mystery-- the type of mystery you've all of a sudden found yourself in and you're comfortable being in a ball of confusion-- because Chopin gives you the secuirty that you need to know that he will give you SOME resolution at the end of it all. It's a wonderful, fulfilling feeling.
Want to know what I'm talking about?
Download/buy/borrow from me:
Chopin's Nocturne in D-flat major, Opus 27, No. 2
All of his Etudes, Opus 10 and 25
His Preludes (Alicia Keys' favorite) Op. 28
posted by Chopin Girl @ 5:50 PM
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