Interpretation of Chopin's Works

Interpretation of Chopin's Works

(Quotes from his pupils)

Concerto in E minor Op.11

(Allegro Maestoso)

In this piece the pianist must be first tenor, first-soprano-always a singer and a bravura singer in the runs, which Chopin wanted the pianist to take pains to render in the cantabile style. This was the way he taught Filtsch, his specially favoured young pupil, to understand this first movement. At That time (1842), Chopin himself no longer played the piece, as he had already given up performing in public. Still, he played us the themes indescribably beautifully and gave us hints for playing the runs cantabile, with a certain measure of strength and bravura within, trying to bring out as much as possible the slightest thematic fragments, using the most delicate touch, even where the runs are no more then runs - which in this piece is the exception. The second and third movements were never mentioned [...] Filtsch studied the work with Chopin solo section by solo section; he was never allowed to play the movement right through, since it would affect Chopin too powerfully; Chopin maintained besides that the entire work's power was contained within each solo section.

[...] When at last Filtsch was allowed to play the whole movement - an occasion for which he had prepared himself by Roman Catholic fasting and prayer as well as by reading the score under Chopin's direction (practicing had been forbidden) - Chopin said 'Now this movement is sufficiently "in place" for us to play it: I'll be your orchestra' [...] With his incomparable way of accompanying, Chopin evoked all the ingenious and elusive qualities of the orchestration. He played from memory. I have never heard anything comparable to that first tutti as he played it himself at the piano. As for the lad [Filtsch], he worked marvels. It was the experience of a lifetime.

Lenz

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