Chopin’s “Knocked Urn”

Melinda & Ethan getting their Downton on...

Melinda & Ethan getting their Downton on…

Still buzzing from the terrific performance at last night’s “Evening Inspired by Downton Abbey,” featuring soprano Melinda Whittington and pianist Ethan Uslan, playing classical, “jazz,” and other standards from the 1920’s in the WGBH Fraser Performance Studio.

And for an encore, since it was, after all, Chopin’s birthday and all, Ethan had to play one of his signature compositions. I explained to the Downton fans the title was inspired by what happened when poor Moseley the bumbling butler-turned-footman backs into an object d’art in the Crawley household….

Episode 183: Chopin’s ‘Knocked Urn’


Candles for Chopin: The Longest Birthday

Not that it really matters to anyone outside of the milestone-crazed classical music world, but thought I’d pass on this release from my old colleague Frederick Slutsky of the Chopin Project trying to clear up the confusion about Chopin’s birthday.  Some say it’s today; others maintain it falls on March 1.   How come?

“In 1810, Fryderyk Chopin was born to a French father and Polish mother in Zelazowa Wola, west of the Polish capital Warsaw. The child was named after Fryderyk Skarbek, the eldest son of a Count who had formerly employed his father. They had to seek the Count’s approval to call him Fryderyk so the christening had to wait two months – until April 23 – a delay which, I believe, caused the confusion.”

“Discovered 43 years after Chopin’s death, his baptism register clearly states the composer was born on February 22 and is the strongest evidence cited by those believing this to be the correct date. It is compelling and was an important document in its day but, like many others, I believe it is wrong, containing a simple error, compounded over time.”

“Chopin’s parents always celebrated his birthday on March 1. When accepting membership of the Polish Literary Society of Paris in 1833, Chopin himself gave March 1 as his birthday. Not only that but a letter to him in Paris in 1837, from his mother in Warsaw, began: ‘Dear Fryderyk, the 1st and 5th of March (Saint Fryderyk’s day), are approaching and I am prevented from embracing you.’ That’s good enough for me”.

And according to USC’s Polish Music Newsletter, the debate over the two different dates was good enough for the organizers of the Chopin Bicentennial to make a little publicity hay in the composer’s home country:

“The Longest Birthday” [Najdluzsze Urodziny] celebrated Chopin’s birthday with a continuous concert starting on February 22 and ending on March 1 in Warsaw. This marathon concert was organized by a group of Chopin enthusiasts and was free and open to the public in the Dom Polonii of Wspólnota Polska on Krakowskie Przedmieście.

According to reviewer Gulliver Cragg,  “despite the many Chopin events happening around Warsaw and the world:…for Varsovians, the real delight was the 170-hour musical marathon. An estimated 25,000 people attended – to the astonishment of the organisers – what was originally seen as a fringe event…. You could have heard jazz star Grazyna Auguscik as she improvised over Chopin melodies, or an unknown young pianist playing nocturnes at 3am to curled-up couples and solitary night-owls. Nearly 300 musicians signed up to play at ‘The Longest Birthday’, the idea for which came from the doubt surrounding the composer’s actual date of birth.”

Regardless of the date, here’s a peek inside Chopin’s birthplace, featuring pianist Jan Lisiecki in a very nice reading of the Waltz in C-sharp Minor, Op. 64, No. 2, recorded on New Year’s Day 2010.

PS – the Steinway, as you might imagine, does not date from Chopin’s time.   In fact, Chopin never played a Steinway…the company didn’t even go into business until 1853…four years after his death.

PPS – The Radio Chopin series introduced me to a fascinating “tone poem” about Chopin’s birthplace by the little-known Russian composer Sergei Lyapunov.

Listen below to the story of how his Zhelazova Vola (Żelazowa Wola), Op. 37, came to be:

Lyapunov said he wished to conjure up the “folk and musical atmosphere, surrounding the great musician in his childhood, perceiving his native land’s image in its purity and simplicity.”

Radio Chopin 100: Zelazowa Wola, Chopin’s Birthplace

Chopin's Birthplace: Zelezowa Wola, Poland

Chopin’s Birthplace: Zelezowa Wola, Poland

Chopin, Remixed: Marc-Andre Hamelin Plays Leopold Godowsky

Time to mark the birthday of the “astonishing” Polish-American piano virtuoso Leopold Godowsky, (b. Feb. 13, 1870), author of some of the most famously difficult keyboard music in creation. Such as his utterly fascinating (and somewhat bizarre) arrangements/remixes of Chopin’s Etudes. And nobody in the world can pull them off quite like Marc-Andre Hamelin….enjoy, and be amazed!

The Torch is Passed: Danill Trifonov Plays Chopin

I can’t think of a better way to mark Chopin’s 203rd birthday than with this sampling of the artistry of the 21-year old Russian pianist Danill Trifonov, in action in our Fraser Performance Studio.

Beieve in the hype surrounding Trifonov: I’ve heard a lot of Chopin from a lot of pianists over the years, and Trifonov’s way with the “poet of the piano” is truly extraordinary.   Check out his performance of the entire Op. 25 etudes, as well as some of the “Fairy Tales” by Nikolai Medtner, in the entire studio session with Cathy Fuller by clicking here – or below.

Drive Time Live

‘Till The End of Time: Episode 200 of Radio Chopin.


“So it has come to this: 200 years, 200 stories, and now our year of Chopin celebrations is out of time. And just what have we learned?

To tell this last Chopin story, we’ve recruited Perry Como, who in 1945 scored his first No. 1 hit by crooning “Till the End of Time,” an effective reworking of Chopin’s “Heroic” Polonaise. A song so popular it sold more than two million copies, and inspired two Hollywood films: both the eponymous Till the End of Time, as well as the Chopin biopic A Song to Remember……”

Thanks, everyone.  Thanks, Fryderyk.   It’s been quite a ride.  The complete episode is below!

Episode 200: ‘Till the End of Time

Three-Quarter Pole: Radio Chopin Episode 150….


Hard to believe we’re three-quarters of the way through Radio Chopin.   Here’s episode 150.  Listen to it here, or read below:

Episode 150: Saved by the Choir

Charles Gounod’s opera, Faust. Act One, Scene One: Faust sits alone, bitter, despondent, reflecting on a life spent in a futile attempt to find the meaning of existence. He resolves to take his own life and is raising a vial of poison to his lips when …outside a joyous peasant chorus stops him.

When you listen to a moment right in the middle of one of Chopin’s most evocative Mazurkas, you hear unisons. Chopin used to fuss at his students over those brief bars. Wilhelm von Lenz writes:

“Nobody ever managed to satisfy him with these unisons, which have to be played very lightly; the chords were an easier matter: but these unisons! ‘They’re women’s voices in the choir,’ [Chopin] would say, and they were never played delicately enough, never simply enough. One was barely allowed to breathe over the keyboard, let alone touch it.”

This has to be a childhood memory. The Mazurka in B-flat minor is redolent with nostalgia from start to finish, and how it ends! If biographer James Huneker hears correctly, Faust’s impulse returns, only this time it’s the whole earth and the scene is set in a sorrowful heaven:

“Sweet melancholy driving before it joy and being routed itself, until the annunciation of the first theme and the dying away of the dance, dancers and the solid globe itself,” he writes, “…as if earth had committed suicide for loss of the sun. The last two bars could have been written only by Chopin. They are ineffable sighs.” – Jennifer Foster