Happy Birthday “Frycek.” Enjoy this beautiful and moving video that brings to life Chopin’s early years in 19th century Warsaw. You see where the young “Frycek” lived and hear details of his family, friends, personality and musical progress. Produced by the City of Warsaw, the video interweaves scenes from past and present, the effect showing you how Chopin’s story and city, like his music, live on today.
Tap on the video image to view it in YouTube. When you watch it full screen, you’ll be able to engage the Closed Captioned subtitles and read translations in English and many other languages.
Photo collage by gracious permission from Hanna Komarnicki (“Chopin’s Europe”)
MINI BIO PART 3: Interlude: Bohemia & Saxony
Buoyant with hope and aspiration, Chopin, with his three traveling companions, returned home after his first visit to Vienna by way of Prague. For Chopin, in addition to visiting Bohemia’s beautiful captial city as a tourist, it continued his Mozart Odyssey that took him just weeks before to Vienna to promote his newly published Op. 2, Variations on La ci darem la mano. Chopin also visited St. Vitus Cathedral, the venue of Rosetti’s Requiem on the death of Mozart. The young visitors also met Vaclav Hanka, the curator of the National Museum, where one of the group, Ignacy Maciejowski, inscribed two stanzas in his Visitor’s Book, to which Chopin added a Mazurka.
The group continued to Teplice, where there was yet another Mozart connection which Chopin visited: Wallenstein’s Castle in nearby Duchcov, where Casanova, who had advised Mozart on matters of love during the writing of Don Giovanni, worked as librarian to Count Waldstein.
Dresden, the next stop, was the capital of Saxony, which had a strong Polish connection: the last Kings of Poland were Saxons. Thus, the magnificent city had a sizable Polish community, to Chopin’s delight.
Fast forward six years. Bohemia was the setting, in 1835, of Chopin’s aborted love affair with Maria Wodzinska. Chopin was invited (by chance) to Karlove Vary by the Wodzinski family where he was reacquainted with Maria, whom he taught when she was nine years old (7 years earlier). He was smitten at the sight of the beautiful young woman she had become, fell in love, and copied his Waltz in A-flat, Op. 69 No. 1 into her music album. Maria’s mother initially approved of their subsequent engagement, but her father had strong reservations because of Chopin’s ill health (and what else, social status), and the engagement was called off. It took Chopin a long time to get over the end of the affair.
Have a listen to “Pierscien” (The Ring), a Chopin song written for Maria in Marienbad. The poem was written by Stefan Witwicki.
The media is talking once again about Chopin Project . . .
(Newswire.net — February 27, 2014) Lutz, Florida — If you’re one of the millions of fans of 19th century Polish-French pianist and composer, Fryderyk Chopin, his March 1 birthday could be just the excuse you need to treat yourself to a very special present. Read the full release here.
Collage of images from “Chopin’s Europe” Photos courtesy Hanna Komarnicki
MINI BIO PART 2: First Trip to Vienna
Chopin visited Vienna twice. To all musicians, both aspiring and established, the capital city of the Austro-Hungarian Empire was the ultimate Mecca, the city of Mozart, Haydn, Beethoven and Schubert. Chopin felt its pull. However, Beethoven and Schubert had died, a year apart, not three years before Chopin’s visit, and already the cultural decline of the world’s music capital was under way. Paris was now becoming the New Vienna, the city in which it was de rigueur to be seen and, above all, heard.
For Chopin, his first visit to Vienna at the end of July, 1829, was a tentative step away from an increasingly provincial Warsaw, into the wider European scene. His passport, appropriately, was his Variations on La ci darem la mano, from Mozart’s Don Giovanni. He had previously sent the manuscript to Vienna’s leading publisher, an approving Tobias Haslinger. To complement its publication that very month, Chopin performed this work twice before ecstatic audiences.
In short, Chopin’s first visit to Vienna at age 19 was a short, deliberate and intense enterprise lasting 18 days (if we don’t count the days of arrival and departure). In that brief period, he met Vienna’s musical illuminati, finalized the publication of his Op. 2, and gave two major concerts in the course of one week. He felt energized with hopes of further fame and fortune as he left Vienna with his four friends, bound for home and hearth via Prague and Dresden.
As we celebrate the approach of Chopin’s 204th birthday, we offer his Opus 2 in two iterations, first as written with orchestra, and then, as a reduction for solo piano.
With the anniversary of Chopin’s birth approaching, people are talking once more about the mystery of his two birthdays. Chopin Project has been quoted in a news release which has been circulated to the world’s media where we’ve given our definitive view. Read the whole story here.
Images from “Chopin’s Europe” courtesy Hanna Komarnicki
Fryderyk Chopin composed his Mazurka in A Minor Opus 7 No. 2 in Poland though it was published later, in France. We know this because an early version of it was discovered in the album of his second teacher’s daughter, Emilia Elsner. Listen and watch as Arthur Greene performs it at a Live Chopin Project Outreach Program in Sarasota, Florida. Then learn more about Chopin’s life through a series of short chapters of his annotated mini biography.
MINI BIO PART 1: Half a Life in Poland
Chopin’s life, as his music, is full of ambiguity and unanswerable questions. What a complicated world he was born into! The great Polish Empire had just been cut into pieces and divided among three countries: Russia, Austria, and Prussia. Chopin was from the Russian part. Chopin’s mother Justyna was born into a noble family, but one so poor that she ended up as a housekeeper working for the Skarbek’s, a distantly-related noble family, though in decline. Continue Reading »
Millions around the world will celebrate the life of Fryderyk Chopin today by listening to his music. We’d like to contribute to the celebration by presenting three pieces. The first is unusual though arguably Chopin’s most beloved Nocturne, the second piece is almost unknown and hardly ever performed, and the third is an all time favorite.
So what makes this first piece so unusual? We’ve recorded a rare edition of the Nocturne in E-flat Major, Opus 9, No. 2. Chopin himself penciled in extra notes to challenge some of his students. Listen carefully and if you know the piece (as you probably will), you’ll hear some things you haven’t heard before — a terrific Chopin Birthday treat.
The second piece, “Der Schweizerbub,” composed when Chopin was in his teens, is hardly ever performed. More of this story in a later post . . . but for now at Birthday 202, enjoy the work of a younger “Frycek” Chopin, age 14.
The third piece, Chopin’s (“Raindrop) Prelude in D-flat Major, Op. 28 No. 15, rounds out our Chopin Birthday mini concert. Let’s join the Chopin lovers of the world by enjoying the soul-resonating magic of Fryderyk Chopin’s musical expression, touching the heart of our real being.
Ancient trees at Nohant Manor from "Chopin's Europe" courtesy Hanna Komarnicki
The first of this group of three mazurkas, in the key of B Major, was conceived in Nohant in 1846, and begins with a defiant theme, a real mold of Mazur as played by country musicians in some village tavern. The character changes with the second theme and from then on the mazurka oscillates between these two contrasting moods. Those moods could also be regarded as musical illustrations of two contrasting characters: it seems to me very often that in his mazurkas, more than anywhere else, Chopin portrays the male and female character either in conversation or on a dance floor of a tavern. Here the second theme is a vivid description of a dancer’s stomping feet, with a characteristic accent on the last beat.
Chopin's initials embellish the gate at The Hermitage -- formerly the Museum of the Chopin Festival -- where, in the summer of 1826, the Chopin family came to the spa at Duszniki "to take the waters." Photo courtesy Hanna Komarnicki
This Polonaise comes from the pen of already “mature” Chopin, almost 18 years old. The musical material here bears some similarity to the themes of his Concerti. This work is less showy and less virtuosic than the Op. 71. No. 2, composed around the same time. The manner of its opening is meditative, its melodies not dancelike, and its mood dignified. The characteristic rhythm of the polonaise doesn’t appear until later in the work, and then almost without a melody, as if to emphasize the solemnity and weight of the Polonaise as a dance step.
But wait — in the middle section we hear melodies that are both ardent and lyrical, and the element of a dance is relegated to the background. In this very section there also appear glimpses of virtuosity in a form of brilliant figurations, as if Chopin didn’t want us to forget his true prankish nature.
Nohant Manor -- Garden Entry from "Chopin's Europe" courtesy MUZA SA, Image copyright 2010 Hanna and Juliusz Komarnicki
As we know, Chopin, like Mozart and Beethoven before him, and Liszt among his contemporaries, was one of the greatest improvisers before the public. How his improvisations sounded, either public or private, in the darkness of his music salon, we will never know. It always seems to me that the closest we will ever come to hearing his musings at the piano is this single five minute Prelude, composed in 1841 in Nohant, and assigned the separate opus number 45. Sending his copyist, Julian Fontana, his manuscript (neither the autograph nor Fontana’s copy are extant), Chopin attached a note that this time (unlike in the case of the Tarantella, Op. 43) expressed a rarely shown satisfaction: “it is well modulated, isn’t it?” In this constant stream of modulations, with no specific form, the main theme and the accompaniment are intertwined. Toward the end comes a cadenza, with double notes in both hands, that a lead to an ecstatic culmination. The opening theme then reappears, and the piece dies away. Its character could be mistaken for that of a nocturne. The work was dedicated to one of Chopin’s female students, Countess Elizabeth Czernyszew. It is puzzling that this marvelous work is performed relatively rarely, although it almost invariably appears in complete recordings of the preludes. It might be worth noting that this work was a obligatory composition during the Fifth International Chopin Competition in Warsaw in 1955.
The Chopin Project Special, produced by the Education Channel through the stewardship of the Sarasota County School Board, is original programming highlighting The Chopin Project® — as it celebrated the 200th anniversary of the birth of the Fryderyk Chopin. The one hour documentary highlights the educational outreach component of Chopin Project’s mission to carry the music of the Polish master to young people everywhere. The program was designed as an integral part of the multi-concert Sarasota Chopin Festival presented last November by The Artist Series of Sarasota and The Chopin Project.
The Chopin Project Special showcases Chopin’s music presented to Booker Middle and Booker VPA High School students in Sarasota through live performances, a young people’s lecture and imagery from Chopin’s Europe.
The world is celebrating Fryderyk Chopin’s 201st Birthday! Our part of it includes a vibrant awareness of the community of Chopin music lovers — visualized here with Chopin Planet and our Chopin Project Player.
First, click the red “Listen Now” button. Our Chopin Project Player will appear and Chopin’s music will play. Click on a different title and the new piece will play. If you’d like, make a Playlist, Sort by Genre, Key and Year. AND NOW, enjoy a captivating view (of Planet Earth from Chopin’s star) — of the Global Community of Chopin celebrants — with Chopin Planet. Click the image below.
Daniel Rodriguez was a photojournalist for the Colombian daily newspaper El Espectador from 1936-66. His work, nearly all in black and white, is known for its beauty and simplicity. It shows a face of Colombian culture transporting the viewer on a nostalgic journey full of contrasts. Chopin’s Mazurka in F Minor, Op. 63 No. 2 performed by Polina Khatsko establishes the tone for our introduction to the photographic works of this Colombian master.
Enjoy this very rare kinescope of a recital by William Kapell; and especially the second piece, Chopin’s Nocturne in E-flat Major, Op. 55 No. 2 (1835) appearing from 3′ 28″ to 8′ 14.” This extraordinary rendering from Alistair Cooke’s “Omnibus” series (CBS-TV) was recorded live March 15, 1953 at New York City’s Metropolitan Museum of Art. This is the only known video of any performance by Kapell who died tragically seven months later, and was mourned by the musical illuminati of the time. We also suggest a wonderful three part tribute to Kapell here: Part 1; Part 2; and Part 3.
Historic Asolo Theatre at the John and Mable Ringling Museum of Art in Sarasota
From November 12-16, 2010 The Artist Series of Sarasota in association with The Chopin Project will proudly present concerts, films and special events as part of the international celebration of the Fryderyk Chopin Year.
The programs will feature six acclaimed Chopin Project pianists: Arthur Greene, Dmitri Vorobiev, Xiaofeng Wu, Olga Kleiankina, Svetlana Smolina and Maxim Mogilevsky; and two guest soloists, cellist Abraham Feder, and soprano Hein Jung.
Friday, Nov. 12 – 7:30PM: Opening performance and reception — Arthur Greene in solo recital featuring Chopin’s Four Ballades at the beautiful USF Sarasota-Manatee Rotunda;
Saturday, Nov. 13 – 2PM: A screening of the 1945 Academy Award winning Chopin biography “A Song to Remember.” Historic Asolo Theatre;
Saturday, Nov. 13 — 7:30PM: “An Evening with the Artists” – Live performance, conversation, and a festive Polish themed dinner, at a unique Sarasota residence.
Sunday, Nov. 14 — 2PM: “Chopin’s Europe” — Historic Asolo Theatre – Concert and multi-media presentation with Chopin Project pianists performing Chopin rarities and favorites – with full-stage images from the new book, “Chopin’s Europe” depicting the regions in Europe where Chopin lived, loved and composed – with live narration.
Sunday & Tuesday, Nov. 14 and 16 – 7:30PM – Historic Asolo Theatre – “Chopin: Favorites and Rarities” — 2 different programs featuring all six Chopin Project pianists.
Monday, Nov. 15 – 7:30PM – Sarasota Opera House: Chopin Spectacular: More Favorites and Rarities. Six Chopin Project pianists and guest soloists, soprano Hein Jung and cellist, Abraham Feder.
Raleigh, North Carolina One of the most exciting projects new faculty pianist Olga Kleiankina brought with her to her job at NC State is her involvement in The Chopin Project. Since its genesis at the University of Michigan, the Chopin Project is devoted to exploring the entirety of Fryderyk Chopin’s works for solo piano online and in live performance. And in this bicentennial year of his birth, Chopin’s music will take center stage as part of the Faculty and Guest Recital roster of Music@NCState October 15-17, featuring Arthur Greene, Dmitri Vorobiev, and Svetlana Smolina with the Music Department’s own Olga Kleiankina.
The Festival’s two recitals taking place at Stewart Theatre (Sat. Oct 16 at 7PM and Sun, Oct 17 at 4PM) features the most beloved works by Chopin, from miniatures — such as waltzes, nocturnes and mazurkas — to major works including Ballades, Preludes and Sonatas. Purchase tickets here.
In collaboration with Ruggero Piano, the artists will also present a Benefit Concert for the Artist of Tomorrow Scholarship Fund and a free master class that focuses on Chopin’s works. Read more here.
Visit Chateau Sarzay with Madame Sand and Fryderyk Chopin while listening to his Mazurka in A-flat Major, Op. 59, No. 2, composed at nearby Nohant Manor in 1845.
Many of the photographs provided by Hanna and Juliusz Komarnicki from their beautifully crafted “Chopin’s Europe” and employed in our video by James De Mauro and Evelyn Bless, depict just what the couple would have seen during their walk to and from Sarzay.
Share the sights, the history and especially the music at once described by Klindworth as “entrancing”; by Huneker as “noble”; and by Hadow, as “perhaps the most exquisitely tuneful and graceful of all his Mazurkas.”
These adjectives have also been used to describe the musical sensibility Arthur Greene brings to this studio performance of Chopin’s Mazurka in A-flat Major, Op. 59, No. 2.
Always a favorite, now a rarity. This just released Chopin Project single performed by William Kapell gold medalist, Arthur Greene, is an unusual edition of one of Chopin’s most beloved compositions, his Nocturne in E-flat Major, Op. 9, No. 2.
So why is it rare? Chopin marked up some of his scores for his piano students which have been fascinating for musicologists to examine. He sometimes added fingerings and other instructions. And occasionally, as here, he added extra notes and even special cadenzas. So . . . listen closely if you know this piece and you’ll hear some lovely original additions by Monsieur Chopin himself.
The complete Opus 9 was originally published as “Les Murmures de la Seine” and dedicated to the wife of Chopin’s friend Camille Pleyel. Marie Pleyel is the woman pictured in the cameo on the album cover.
In celebration of the six month anniversary of Chopin’s 200th birthday, we are offering it as a free download until September 1, 2010.
Want to hear the pleading eloquence of Chopin’s Opus 63 Mazurka in C-sharp Minor — at the place where it was composed? Watch this video!
The Chopin Project is proud to present the first in a series of short videos that show you where Chopin lived while creating his magnificent music. This episode focuses on Nohant Manor, the country home of Mme George Sand. Hear a musical gem performed by Polina Khatsko, see photos of Nohant Manor and read about manor life. The story is based on the book Chopin’s Europe by Hanna and Juliusz Komarnicki and Pamela and Iwo Zaluski.
A beautiful and moving video that brings to life Chopin’s early years in 19th century Warsaw. You see where the young “Frycek” lived and hear details of his family, friends, personality and musical progress. Produced by the City of Warsaw, the video interweaves scenes from past and present, the effect showing you how Chopin’s story and city, like his music, live on today.
Princess Cristina Belgiojoso, Underwriter of Hexameron
When Vincenzo Bellini, a great composer of bel canto opera and one of Chopin’s musical idols died in 1835, a group of pianist-composers in Bellini’s circle chose to honor him by writing a set of six variations on a march from the last of his operas, “Il Puritani.”
The six friends were coaxed into this project by Princess Cristina Trivulzio Belgiojoso, and led by Franz Liszt, who contributed a substantial part of this nearly twenty minute long collection. The Princess, who adored Bellini, is pictured here and is separately a subject of extraordinary interest as a Parisian-exiled Italian heiress, a music loving society celeb, feminist, author, social activist and political revolutionary, teacher and pioneer.
The Hexameron was not a new musical instrument come to market in the 1830’s. Though of biblical genesis, the title for this homage to Bellini was named Hexameron rather for the six separate components of this collaborative work. There had been a longstanding legend that at one time all the pianists were gathered in the salon of the enterprising Princess, to perform the variations on six pianos; but as an acclaimed exponent of this difficult work, pianist Raymond Lewenthal reflected in his comments on Hexameron, it would have been wonderful if that had occurred, but there’s not an iota of confirmation.
Other than Liszt, composers of Hexameron were Sigismund Thalberg, Johann Peter Pixis, Henri Herz, Carl Czerny and finally Fryderyk Chopin. About fifteen years earlier, a similar type of multi-composer project bore a set of fifty variations written by fifty composers on a theme of Diabelli. This theme also inspired Beethoven, who independently created a magnificent set of thirty-three variations, Op. 120 (Diabelli Variations), which became one of his crowning acheivements.
In Hexameron we hear mostly virtuosic, bravura variations. Perhaps predictably Chopin’s contribution is of a different nature, as it offers the listener a rare moment of reflection. In Chopin’s hand, Bellini’s theme is intoned as largo (slow) and his dynamics are sotto-voce (soft), accompanied by nocturne-like left hand playing and rising and falling two-note chords. The only change of mood takes place in the middle of the variation, when more dramatic, sharper rhythms and fuller dynamics break the climate of meditation.
Today’s Chopin Project posting features “Chopin’s Europe,” a just released hardbound photographic essay of all the places Chopin lived, loved, played and composed through the four decades of his life — some familiar, some rarely published, others newly discovered.
With a Foreward by Martha Argerich, the innovative format of “Chopin’s Europe” tells his story more from a geographical point of view and less as a chronological restatement of fact.
Concise but comprehensive text by acclaimed Chopin biographers Iwo and Pamela Zaluski, together with highly evocative and personal photographs taken by Hanna Komarnicki and painstakingly curated by her husband Juliusz, “Chopin’s Europe” really does bring to life the beauties, moods and aspects of Chopin’s continent, from remote Poturzyn in the sub-Ukrainian hinterland, to the wild beauties of Majorca to the mist-swathed Highland of Scotland.
Some news: “Chopin’s Europe” will be presented to the Chopin Society, UK on Sunday May 2 following a 3:30PM recital by Martin Kasik at St. Paul’s Church, Covent Garden.
Lutz, Florida – The Chopin Project® today announced the initial release of 20 exclusive new recordings, including many Chopin rarities viaThe Chopin Project® iPhone App from the Apple® iTunes Store. The Chopin Project® App offers a growing discography of new studio recordings from the Chopin Project® Listening Library.
Today’s posting embodies a grand fusion of the 19th century music of Fryderyk Chopin and the visual expression of twenty-first century Colombian sculptor and painter, Carlos Camargo Vilardy, whose love for Chopin’s music provided enormous impulse for the enterprise.
Self-appraisals are often too charitable; at other times, too critical. “I hope I won’t write anything as dreadful too soon.” Those were Chopin’s words about his own Tarantella in A-flat Major, Opus 43 (1841). Was there justification for his remark?
The Tarantella belongs to Chopin’s occasional compositions, such as Bolero and Berceuse — in other words, works he never revisited. We don’t know what prompted Chopin to compose it. It was probably not a commission from some publisher. We know Chopin adored the opera and was very fond of Bellini and Rossini. Possibly in his Tarantella he simply attempted to follow in Rossini’s footsteps by writing an instrumental work that was of a vocal provenance. He knew Rossini’s “La Danza” and indicated that fact in a letter instructing his composer-friend and copyist, Julian Fontana [to] “. . . check in Rossini’s collection, if his Tarantella is in 6/8 meter or 12/8.”
Thus as a typical composition of that genre, Chopin’s Tarantella is from beginning to end played “in one breath,” without a moment of rest. It has four different segments, not really varied, which might be a reason the work attained rather poor marks. The best “compliment” in defense of this miniature (giving new meaning to the work lukewarm) came from Arthur Hedley, a noted musicologist and Chopin authority, proclaiming “the frantic character of the music is captured fine, except that without the Italian gaiety.”
The sentiments of Chopin and Hedley are certainly not universal. By popular demand, the folks in the great state of Iowa in America’s heartland, have requested an encore statewide Iowa Public Radio broadcast of Chopin Project pianist, Dmitri Vorobiev’s live performance of Tarantella in A-flat.
Iowa Public Radio’s brand new performance series, “PERFORMANCE IOWA” premiers tonight in celebration of Chopin’s 200th Birthday.
Host Jacqueline Halbloom presents Dmitri Vorobiev, Chopin Project pianist and UNI Assistant Professor of Music in live performance of two Chopin rarities: Tarantella in A-flat Major, Op. 43 (1841) and Allegro de Concert, Op. 46 (1834-41). Pianist Ksenia Nosikova, Associate Professor of Piano of University of Iowa will play pieces by Liszt and Schumann, each in honor of the composers’ association with Chopin in this Bicentennial year.
“PERFORMANCE IOWA” aspires to bring listeners closer to the music by including the views and observations of the performers.
Tonight’s performances will be broadcast live state-wide on Iowa Public Radio Classical frequencies. Listen at 7PM Central DT (00:00:00 UCT/GMT). A link to open the live player can be found at:
According to Wikipdia, a Contra Danse was an English folk dance incorporating two long rows of partners facing and moving towards or away from each other. At the end of the 17th century, these dances (then known as English country dances) were taken up by French dancers leading to hybrid choreographies. The French first called them contra-dance or contredanse. Usually set in 2/4 or 6/8 meter, the dances spread and over time were reinterpreted throughout the Western world. Eventually the French form of the name (following the erroneous belief that its genesis was French) came to be associated with American folk dances, especially in New England, where they have managed to survive.
The Contredanse in G-flat major, attributed to Chopin, was not discovered and published until 1934. This was more than 107 years after it was composed (at age 17). Though not subject to current debate, some speculation still exists as to its authenticity because the only remaining autograph (dated 1827) was not Chopin’s; the work is nevertheless believed by many to have come from Chopin’s pen.
It is a charming miniature though rarely performed, an engaging encore whose authorship may, especially in this bicentennial year, engage the attention of a youthful listener intent on solving a musical mystery.
Listen Now to Chopin Project performer, Dmitri Vorobiev play this Chopin rarity. Then, please participate in the experiment, explained below:
The Experiment: Start the YouTube video but turn the YouTube volume down so you can’t hear it at all. While you’re watching the now silent YouTube video, watch it through while listening to the Chopin Contredanse. Please send us a comment about your experience.
Acclaimed Chopin Project pianist Svetlana Smolina will play Chopin’s Twenty-four Preludes, Op. 28 as part of her performance tomorrow at 4:30PM (Friday, March 5th) at the Winter Garden main stage in New York’s World Financial Center. Ms Smolina is among the virtuosi performing in the 200 hour Wall Street marathon celebrating the 200th anniversary of Chopin’s birth.
Chopin once wrote, “When one does a thing, it appears good, otherwise one would not write it. Only later comes reflection, and one discards or accepts the thing. Time is the best censor, and patience a most excellent teacher.”Upon further reflection, Chopin must have realized that this Waltz was an all-time keeper, a favorite of piano virtuosos and amateurs alike since Chopin’s own time. It was a notable favorite of Artur Rubinstein. In fact, the Chopin.Net site has a nice anecdote about Rubinstein:
When people asked him how he could continue to play the same waltz for over 75 years, he replied, “Because it’s not the same, and I don’t play it the same way.”
Presenting Chopin Project Audio Player and Chopin Planet:
With excitement and gratitude for Fryderyk Chopin’s music, we celebrate his 200th Birthday by introducing our newest feature – The Chopin Project Audio Player. Click the red “Listen Now” button and music will play. Click on a different title and it will (or should) play. Make a Playlist. Sort by Genre, Key and Year. Have some fun with it. Let us know what you think and how we can improve it.
Now that Chopin’s music is playing, enjoy a captivating view of the Global Community of Chopin Year Celebrants with Chopin Planet. Click the center of the spinning globe to activate a more complete visual experience. (If your browser isn’t responsive, try Firefox).The lights represent the cities of all visitors to the site during the past few months or so; the pulsing red lights represent current visitors, including you.