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Chopin: from Poland to the Paris Salons

"FOUR CONCERTS ONE DAY" is the new format with which we reinterpret the concepts of "crash course" and "binge watching" for classical music, i.e. the learning and consumer behaviour common today. We hope that you will join us every year when we present a composer with such a
Concert Marathon.

Concert I -> 14:30 hrs
Concert II -> 16:00 o'clock
Concert III -> 17:45 o'clock
Concert IV -> 20:30 o'clock

prices
1 concert: € 20,-
3 concerts: € 50,-
4 concerts € 60,-

I
FRÉDÉRIC CHOPIN
Polonaise Op. 26 no 1
Mazurkas Op. 24
Etudes Op. 25
with Mariusz Kłubczuk
The Etudes were Chopin's ticket to the Parisian piano titan scene and highly paid elite educators. But as a symbol of his beloved Polish homeland, which he left forever in 1830 at the age of 20, he composed many polonaises and mazurks.

II
FRÉDÉRIC CHOPIN
Six Polish Songs op. 74 (arr. Franz Liszt)
1. girl's wish
2nd spring
3. the ringlet
4. bacchanal
5. my joys
6. the homecoming
Nocturne No. 1 op. 15 in F minor
Etudes No. 1, 2, 4 op. 10 Polonaise op. 53 in A flat major Andante Spienato and Grande Polonaise Brilliante
E flat major op. 22
with Mariam Batsashvili

Chopin dedicated his Etudes op. 10 to Franz Liszt, whose piano playing he envied and detested at the same time. Their musical characters could hardly have been more different. Although she was not a close friend, it was a mutual recognition of her work, which remains unavoidable for every pianist to this day.

III
FRÉDÉRIC CHOPIN
Fantasy in F-Minor op. 49
Scherzo No. 2
Ballad No. 3
Ballad No. 4
Sonata No. 3
with melody Zhao

With the third and last of his sonatas Chopin did not question the genus itself. Beethoven has already done this with his late sonatas, especially op. 111. No, he devoted himself to this great form on a level ground, but was nevertheless able to give the sonata his personal character, for example with his typical "jeu perlé" in the second movement and the breathtakingly beautiful third movement.

IV
FRÉDÉRIC CHOPIN
3 Nocturnes op. 9
Ballad No. 1 op. 23
24 Preludes op. 28
with Claire Huangci

The nocturne is a form that was hardly noticed before Chopin. For him, however, it was the ideal performance piece for a tight circle gathered by candlelight, listening devoutly to its filigree shades between pianissimo and mezzoforte. Bellini's strong musical influence is nowhere more evident. The 24 Preludes op. 28 are a clear reference to "Das Wohltemperierte Klavier" by Bach. As with Bach, in Chopin each of the pieces is in one of the 24 major and minor keys, although the order is different. However, the idea of having a fugue following each prelude must have been too academic for this musical freethinker.

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Chopin: from Poland to the Paris Salons - Erl

"FOUR CONCERTS ONE DAY" is the new format with which we reinterpret the concepts of "crash course" and "binge watching" for classical music, i.e. the learning and consumer behaviour common today. We hope that you will join us every year when we present a composer with such a
Concert Marathon.

Concert I -> 14:30 hrs
Concert II -> 16:00 o'clock
Concert III -> 17:45 o'clock
Concert IV -> 20:30 o'clock

prices
1 concert: € 20,-
3 concerts: € 50,-
4 concerts € 60,-

I
FRÉDÉRIC CHOPIN
Polonaise Op. 26 no 1
Mazurkas Op. 24
Etudes Op. 25
with Mariusz Kłubczuk
The Etudes were Chopin's ticket to the Parisian piano titan scene and highly paid elite educators. But as a symbol of his beloved Polish homeland, which he left forever in 1830 at the age of 20, he composed many polonaises and mazurks.

II
FRÉDÉRIC CHOPIN
Six Polish Songs op. 74 (arr. Franz Liszt)
1. girl's wish
2nd spring
3. the ringlet
4. bacchanal
5. my joys
6. the homecoming
Nocturne No. 1 op. 15 in F minor
Etudes No. 1, 2, 4 op. 10 Polonaise op. 53 in A flat major Andante Spienato and Grande Polonaise Brilliante
E flat major op. 22
with Mariam Batsashvili

Chopin dedicated his Etudes op. 10 to Franz Liszt, whose piano playing he envied and detested at the same time. Their musical characters could hardly have been more different. Although she was not a close friend, it was a mutual recognition of her work, which remains unavoidable for every pianist to this day.

III
FRÉDÉRIC CHOPIN
Fantasy in F-Minor op. 49
Scherzo No. 2
Ballad No. 3
Ballad No. 4
Sonata No. 3
with melody Zhao

With the third and last of his sonatas Chopin did not question the genus itself. Beethoven has already done this with his late sonatas, especially op. 111. No, he devoted himself to this great form on a level ground, but was nevertheless able to give the sonata his personal character, for example with his typical "jeu perlé" in the second movement and the breathtakingly beautiful third movement.

IV
FRÉDÉRIC CHOPIN
3 Nocturnes op. 9
Ballad No. 1 op. 23
24 Preludes op. 28
with Claire Huangci

The nocturne is a form that was hardly noticed before Chopin. For him, however, it was the ideal performance piece for a tight circle gathered by candlelight, listening devoutly to its filigree shades between pianissimo and mezzoforte. Bellini's strong musical influence is nowhere more evident. The 24 Preludes op. 28 are a clear reference to "Das Wohltemperierte Klavier" by Bach. As with Bach, in Chopin each of the pieces is in one of the 24 major and minor keys, although the order is different. However, the idea of having a fugue following each prelude must have been too academic for this musical freethinker.

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