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.

• Download Nocturne Op. 9 No. 2 (original cadenzas) MP3

“It is rarely played.  Its absolute simplicity of texture may lead performers to experiment with ornamentation, but I believe that it is an expression of Chopin’s new direction, in the difficult few years at the end of his life, towards a directness and purity of expression.  The Polonaise-Fantasy has somewhat the same mood, although it is much more elaborate.  The little nocturne is a tragic whisper.”

Chopin Biographer Arthur Hedley once wrote: “From the great Italian singers of the age [Chopin] learned the art of ’singing’ on the piano, and his nocturnes reveal the perfection of his cantabile style and delicate charm of ornamentation.”

Recent scholarship by some musicologists hear the song of a sorrowful Venetian gondolier (borrowed from Italian opera composer Giaocchino Rossini, whom Chopin greatly admired) in the undulating Nocturne in C minor, the 21st and final essay in the genre that Chopin perfected. It dates from 1847, just two years before Chopin’s death, but was not published until decades later.

• Listen to Nocturne in C Minor, KK 1233-5 by Fryderyk Chopin
  performed by Arthur Greene recorded live at the University of Michigan’s Britton Recital Hall
• Download sheetmusic for Nocturne in C Minor, KK 1233-5 by Fryderyk Chopin

Smack-dab in the middle of Chopin’s Op. 25 Etudes lies this unique and memorable piece that is unlike any other Chopin creation. And one that has generated a considerable amount of ink over the decades.

Sometimes it’s called the “‘Cello Etude,” because the prominent melody is in the left hand, approximating the range of a cello. Others have called it “A Duet between a He and a She.” Or perhaps you prefer “Morbidly Elegaic?” Ballade-like? A Missing Nocturne?

Another school of thought says plainly: It’s an Etude. It’s supposed to help you with perfecting you piano technique. And the technique here is an exquisitely difficult phrasing and balance question – making the left hand carry the melody without being overpowered by the right — when the natural tendency is to go the other way.

Oh, and just to mess you up a little further, the left and right hand are playing quite independent musical lines that need to coincide at key moments.

So, for the final word, let’s transport you back to G.C. Ashton Jonson, author of the 1905 tome A Handbook to Chopin’s Works: (For the Use of Concert-Goers, Pianists, and Pianola Players):

Hear Chopin Project Artistic Director Arthur Greene perform Chopin’s unique Etude in C-sharp Minor, Op. 25, No. 7.

Read the Wikipedia entry here.

Read the Chopinmusic.net entry here.

• Download sheetmusic for Etude in C-sharp minor, Op. 25 No. 7 by Fryderyk Chopin

Hear Artistic Director Arthur Greene play this brilliantly conceived Waltz in A-flat (Op. 42) live in a Chopin Project performance.

Chopinmusic calls it “the most ambitious and substantial of all Chopin’s waltzes.”

The Vancouver Chopin Society goes even further, quoting David Dubal in suggesting that this “Grand Valse” is the essence of Chopin:

A case may be made for the Op. 42 as Chopin’s most perfect valse. After the first measures of trill, a call to the dance, there is a melody with a rare lilt composed in double time, with the triple time of the waltz in the left hand. Schumann remarked that “like his earlier waltzes it is a salon piece of the noblest kind.” The composition, Schumann feels, should be danced to only by “countesses at least.” This waltz is the most demanding technically of the series.

Chopin’s official title for the piece is the Grande Valse Nouvelle pour le piano, Op. 42. There’s a fascinating detail of its publication history available at Chopin First Editions Online.

• Listen to Waltz in A-flat, Op. 42 by Fryderyk Chopin
• Download sheetmusic for Waltz in A-flat, Op. 42 by Fryderyk Chopin

Arthur Greene plays this Mazurka with its mysterious opening, “a song so sad, heartfelt, naive, diversified and caressing.”

Take a look at this fascinating University of Chicago site with digital images of Historic Scores of the Op. 6 Mazurkas, dating from 1832-1850.

Love the Chopin Mazurkas? Read a fuller description of them on the Pianosociety.com website…

• Listen to Mazurka in C-sharp minor, Op. 6, No. 2 by Fryderyk Chopin
• Download sheetmusic for Mazurka in C-sharp minor, Op. 6, No. 2 by Fryderyk Chopin