Venetian Love Songs - Barcarolles by Chopin and Szymanowska (Vol. 6, No. 2)

First there was Venice,..

The Grand Canal in Venice from Palazzo Flangini to Campo San Marcuola, 

Canaletto, about 1738. The J. Paul Getty Museum, Los Angeles

... and then there was the most exquisite of love's songs, permeated with the lilting motion of the gondolas on the canals in Venice: Chopin's Barcarolle...


...
 

In the introduction to Chopin's Op. 60 (in F-sharp Major, composed in 1845-6), Prof. Mieczyslaw Tomaszewski calls it "a work that intoxicates with the beauty of its sound and thrills with its seethingly ardent expression."  As the case should be for a piece both searing and soaring, the Barcarolle evoked a whole range of nearly ecstatic descriptions from typically rather somber scholars. Tomaszewski himself wrote:

Musicologist Hugo Leichtentritt called it "a work of bewildering beauty;" Marceli Szulc heard in the music "a duet between a couple of lovers – threatened for a moment by death." Writer Andre Gide was attunted to its "languor in excessive joy." A fellow composer, Maurice Ravel found it to be “the synthesis of the expressive and sumptuous art of this great Slav.”

Chopin was well aware of the barcarolle as a genre, primarily from the operas of Rossini (Guillaume Tell, and Daniel Auber (Fra Diavolo), but also from its rendition by Mendelssohn in his Songs without Words. Yet, his take is thoroughly different and completely modern, especially in its seemingly pointless wondering, loss of continuity, and suspensions of musical narrative at the end of the central section.  This is one of the most sublime moments in all pianistic repertoire. It occurs deep in the piece, where the score is marked with "dolce sfogato" - a rare Italian expression, "sweet like a breeze" - that has not been known to grace the pages of other compositions. He reaches the boundaries of atonality in this prophetic moment of timelessness.

The overall formal scheme is traditional for a nocturne: ABA' song-form, with the main sections in F-sharp Major and the central episode in A Major and a prominent 12/8 lilt. This is music overflowing with light - reflections, waves, interference, brief, passing shadows and a myriad of stars scattered on the water at midnight...

The Fryderyk Chopin National Institute in Poland (NIFC) selected a recording by Tatiana Shebanova, that fully modernizes the Barcarolle, emphasizing is modernist discontinuities, interruptions and irruptions, while sustaining an overall tone of  melancholy mixed with passion.

There are many other interpretations of this sublime piece of music. Five are gathered in one YouTube post by a music lover, Ashish Xiangyi Kumar: Pollini, Zimerman, Kissin, Argerich.... (I wish he skipped Horowitz...). Over 40 minutes of otherworldly romanticism. A perfect gift for St. Valentine's Day, especially for musicians: the recording is accompanied by the score.

As Kumar writes, placing the recordings in a chronological order:

00:00 -- Pollini (Warm and lyrical. He has a reputation for technicality and coldness that is not deserved.)
08:37 -- Zimerman (Hushed and worshipful, occasionally rising to majesty)
17:30 -- Kissin (Tender and surprisingly meditative)
26:23 -- Horowitz (Scriabinesque, aching, enigmatic, some nice voicing)
35:21 -- Argerich (Intimate, and as you would expect, relatively free and occasionally tempestuous.)



Listen for yourself. And let the music take you to the breathtakingly beautiful and melancholy canal-streets of Venice - that Chopin never visited himself... Here's the gift of

As an encore, let us turn to another Barcarolle, far less known and much smaller in size:




Maria Szymanowska wrote her Barcarolle as a farewell gift to the poet Adam Mickiewicz on the day of his departure from St. Petersburg, in May of 1829.  He left for Paris, banished from his temporary residence in Russia, destined for exile until his death 25 years later. She gave him recommendation letters to famous poets and influential nobility that earlier delighted with her performances.

The work has never been published and was preserved only in manuscript. Elisabeth Zapolska-Chapelle, President of the Société Maria Szymanowska, Paris, France, provided a copy of the sheet music of this unknown composition to pianist Slawomir Dobrzanski, a Szymanowska specialist. This is a live recording from October 11, 2014, his concert in Paris.

Szymanowska's Barcarolle is just a violet, compared with the glorious bouquet of velvety red roses blossoming in Chopin's... still both are welcome in the perennial world of Valentines:

Na gorze roze

Na dole fijolki

Kochajmy sie

Jak dwa aniolki!

Chopin's Prelude and the Prometheus, or Music vs. Aliens (Vol. 3, No. 8)

Of all the preludes by Chopin, the one in D-flat Major, op. 28 no. 15, known as the "Raindrop" prelude, has attracted the most attention - among the poets and filmmakers, at least. . . I think it is because it is relatively easy to play; even I could learn it! And I was known in my music-making days as having two left hands on the keyboard. ..

In any case, this sublime melody (or rather, the sostenuto themes appearing in the A-sections of the ABA form) has recently been used in a new sci-fi film by Ridley Scott, "Prometheus." This pre-quel to the alien trilogy, focuses on the attempts of totally evil, poisonous alien creatures, both grossly slimy and supremely intelligent, to take over and destroy humanity.

Apparently, Ridley Scott has loved this melody for a long time and decided to use it both in the film and in the final credits as a symbol of what matters. Chopin's miniature becomes here the most delicate sign of our shared humanity, threatened and attacked by unbearable screeches of the alien life-killing life forms. [An account loosely based on an article in the Los Angeles Times, July 6, 2012]

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Let's listen to the Prelude played by pianists who did not have two left hands:

Arthur Rubinstein: Prelude in D-flat Major, op. 28 no. 15, a tad too fast to my taste...

Martha Argerich: Prelude in D-flat Major, op. 28 no. 15, with amazing rubatos!

Maurizio Pollini; Prelude in D-flat Major op. 28 no. 15, this one is a concert encore, a great way to end an evening...

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The "Raindrop" Prelude has been surrounded by stories and legends since its creation. Chopin wrote some of it during the fateful stay in the Monastery on the island of Mallorca, the city of Valldemosa in 1834. He got really sick and was suffering from hallucinations, nausea, and fevers. Some modern scholars claim that these were the symptoms of his poisoning with carbon monoxide, from a heater he had in the closed space of the cold cell where he was composing all day.

George Sand wrote in her Histoire de ma vie that Chopin had a very peculiar vision or dream, while playing the piano and working on this prelude:

He saw himself drowned in a lake. Heavy drops of icy water fell in a regular rhythm on his breast, and when I made him listen to the sound of the drops of water indeed falling in rhythm on the roof, he denied having heard it. He was even angry that I should interpret this in terms of imitative sounds. He protested with all his might – and he was right to – against the childishness of such aural imitations. His genius was filled with the mysterious sounds of nature, but transformed into sublime equivalents in musical thought, and not through slavish imitation of the actual external sounds."

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Before the cosmic battle of Ridley Scott's aliens, film-makers used the Prelude in a variety of contexts, as listed on Wikipedia by anonymous sribes (thanks for all the work!):

• In the 1979 James Bond movie Moonraker, villain Sir Hugo Drax plays the Raindrop Prelude in his chateau on a grand piano when Bond comes to visit.

The raindrop prelude is also featured on the soundtrack of the 1996 Australian film Shine about the life of pianist David Helfgott.

The prelude appears in the "Crows" section of Akira Kurosawa's film Dreams.

The prelude plays a pivotal role in the 1990 film version of Captain America. The piece is played at a childhood piano recital by the young prodigy who would become the Red Skull, and a recording of this incident is later played by the titular hero to delay the now-70-year-old Red Skull from detonating a nuclear bomb that would destroy all of Southern Europe, the detonator for which was also concealed in a grand piano.

The dramatic bridge of the prelude was used in an elaborate pre-release commercial for the video game Halo 3 as a part of the $10 million "Believe" ad campaign. The piece plays over close-up footage of a highly detailed diorama of an historically pivotal battle in the game's universe.

The piece appears in the John Woo film Face/Off in a seduction scene between Castor Troy and Eve Archer.

The prelude appears in the fantasy video game Eternal Sonata, where Chopin's music plays a major part.

The piece is studied as a 'Set Work' in the English exam board Edexcel's GCSE in Music.

The piece is used in the film Margin Call, as Kevin Spacey's character sleeps in his office but is then woken up by the prelude's climax.

The prelude is used in the English trailer for the Japanese film Battle Royale.

In addition, a music blog, The World's Greatest Music, mentions yet another TV appearance of Chopin's Prelude, in the credits of a 1980s show, Howard's End.

If you know of more ways to "kill" this perfectly beautiful piece of music, let me know...

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The Prelude No. 15 has long been a favorite of poets. In the anthology "Chopin with Cherries," there are no fewer than ten poems inspired by or mentioning this particular prelude. Christine Klocek-Lim goes back to the story by George Sand.  

Prelude in Majorca  

Christine Klocek-Lim  

The wet day carried rain into night
as he composed alone.
With each note he wept
and music fell on the monastery,
each note a cry for breath
his lungs could barely hold.
Even as his world
dissolved around him
“into a terrible dejection,”
he played that old piano in Valldemosa
until tuberculosis didn’t matter;
until the interminable night
became more than a rainstorm,
more than one man sitting alone
at a piano, waiting
“in a kind of quiet desperation”
for his lover to come home
from Palma.
When Aurore finally returned
“in absolute dark”
she said his “wonderful Prelude,”
resounded on the tiles of the Charterhouse
like “tears falling upon his heart.”
Perhaps she is right.
Or perhaps Chopin “denied
having heard” the raindrops.
Perhaps in the alone
of that torrential night
he created his music simply
to hold himself inside life
for just one note longer.


Notes:
Prelude No.15 in D-flat Major, Op. 28. Quotes from Histoire de Ma Vie (History of My Life, vol. 4) by George Sand (Aurore, Baronne Dudevant).

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Another contemporary poet, Carrie Purcell thought about her music lessons...  

Prelude in D-Flat Major, Opus 28, No. 15  

Carrie A. Purcell  

You have to
my teacher said
think of that note like rain,
steady, but who,
my teacher said
wants to hear only that?
On Majorca in a monastery
incessant coughing
covered by incessant composition
and everywhere dripping
sotto voce
move the rain lower
let it fill the space left in your lungs
let it triumph
We die so often
we don’t call it dying anymore