This delicate, haunting Waltz in another work that adds to the mystery and mastery of Chopin. This Waltz has long been a favorite of amateur pianists, as it’s one of the least difficult pieces of Chopin’s to play. Well, the NOTES may not be hard, but the FEELING? Rarely is this piece performed with such sensitivity, transparency and grace.

Hear Chopin Project pianist Christina Thayer Fox perform Chopin’s Waltz in A minor.

Now, for the mystery part: There is a lot of confusion over the title and date of this Waltz. It was published after Chopin’s death, and therefore carries no opus number (It is not to be confused with the Waltz in A Minor, Op. 34, No. 2). In fact, the most popular published score didn’t appear until 1955! So as a result it can be harder to track down recordings and scores….so we’ve done it for you!

I am compelled to think about paving my way in the world as a pianist.” – Shortly after arriving in Paris Chopin penned those memorable words in a letter to his old Warsaw music teacher Józef Elsner. And one of the first pianistic roads Chopin paved in his own way was through the development of the Nocturne, a form more or less invented by the Irish composer John Field, but, quoting the Guild Music website: “it was Chopin who brought the genre to its perfection. In his Nocturnes, he displays his unique melodic gift (very much influenced by the bel canto operas of his time) and his extraordinary ability to renew the accompaniment.”


Chopin’s development of the Nocturne form really came into its own with the publication of his Three Nocturnes, Op. 15 in the early 1830’s. Today’s entry – The Nocturne in G minor, Op. 15, No. 3 – showcases Chopin’s incredible gift for opera-like melody at the beginning and end of the piece, contrasted by a fierce, fiery and virtuosic middle section.

Hear Chopin Project pianist Christina Thayer Fox perform Chopin’s utterly original Nocturne In G minor, Op. 15, No. 3.

Ferdinand Hiller, dedicatee of Chopin\'s Op. 15 Nocturnes
Ferdinand Hiller, dedicatee of Chopin’s Op. 15 Nocturnes

Chopin dedicated the Op. 15 Nocturnes to his friend and mentor Ferdinand Hiller, a German composer, conductor, and pianist whose own music has been almost totally forgotten, but whose name lives on as the dedicatee both of these Chopin masterworks as well as Robert Schumann’s Piano Concerto.

Read the Wikipedia entry here.

Read the entry on the Nocturnes here.

Cross-posted from our companion daily blog site The Chopin Currency: By “Currency” we mean just how contemporary – and how powerfully it resonates in our own time, nearly 200 years since the composer’s birth.

This month we’re getting a compelling reminder of just how “current” Chopin’s music is from, of all places, MTV Networks, who commissioned this powerful and moving PSA/Web film called “None of Us Are Free” to raise awareness for disaster relief in Myanmar (a/k/a Burma). The film begins with Chopin’s Nocturne in C Minor, Op. 48, No. 1 (as well as a bit of the Fantaisie-Impromptu at the end…)…to dramatic effect:

None Of Us Are Free- the Burma Film

Now that you’ve heard that snippet,

Hear pianist Polina Khatsko play this poignant Nocturne in C minor, Op. 48, No. 1 in a Chopin Project live performance at the University of Michigan’s Britton Recital Hall.

Now, some details as to how Fryderyk C’s music got involved, courtesy of

When and how the music was incorporated?
The music played a huge role in setting the tone and pacing of the piece. We knew that it would be huge in setting the right mood so it had to be perfect. We listened to a lot of tracks when we were cutting the first previz [sic] edits and when we heard Chopin’s nocturnes, we knew we found the right music. It had all the right elements, movement, and form.

Dante Nou who was working in—house with us took the two pieces we had roughly cut together and started tweaking them. Nate, our editor had some ideas about cadence and drawing out notes and keys and we just started fucking with it. By the time we finished the edit, the music had developed equally—it was then the foundation of what we took to Good Sounds. They replayed the original pieces and put their own loveliness in the mix—more sound design and tweaking, and by the time we finished the picture the music had finished as well.

There’s more about the “making of” the PSA on as well, quoting from the MTV Press Release: “With the powerful melody from the feted virtuoso pianist Chopin, viewers will watch the beautiful red flowers float and dance towards Burmese soil.” calls this Grand Valseone of Chopin’s most popular and glittering works.” We’re hard pressed to disagree.

Hear Chopin Project pianist Jei-Yern Ryu perform Chopin’s effervescent Waltz in E-flat, Op. 18.

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):

Etude in C-sharp Op. 25 No. 7

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 entry here.

Chopin Nocturnes Op. 48 Title page

“Magnificent in its breadth, it profound expression, and its tremendous sonority.” Dr. Frank Cooper‘s summation of this Chopin Nocturne, composed in 1841, just about says it all. But if you want to know more, click here. Or else check out the marvelous collection of Chopin early editions at the University of Chicago library.


Hear pianist Polina Khatsko play this poignant Nocturne in C minor, Op. 48, No. 1 in a Chopin Project live performance at the University of Michigan’s Britton Recital Hall

kay-zavislakThe third of Chopin’s four Ballades for the piano has been called “probably the only 19th century ballade with a happy ending (as well as being the only ballade of Chopin’s that ends on a major chord).”

But there’s quite a journey it takes before that happy resolution, both in the literary allusion to a tragic short story by Adam Mickiewicz, and in the technical challenge outlined by pianist Paul Cantrell in his excellent blog and podcast In The Hands:

In everything Chopin writes, no matter how complex and virtuosic, that powerful simplicity is there at the core. Although he wrote some very difficult and impressive stuff, the ultimate effect of his music, I feel, should never really be to impress. But that’s exactly what the pianists we usually hear are striving to do: impress the contest judges, the critics, the public. The world we classical performers live in gives us very little room not to play big show pieces, or make everything we play into one.

Chopin’s third ballade suffers particularly from this problem. The ballades are all difficult, but it’s the easiest of them (sort of like the shortest Himalaya). It seems as though all the star performers I’ve heard end up trying to make it as hard as the others by plowing through it with virtuosic flare, and thus trivializing it.

What wonderful music it is that gets plowed under when that happens! I could spend the whole next month talking about this piece, about how Chopin plays with the sense of return, about his use of dissonance as an architectural device, about all those wonderful melodies … but for now, I’ll just leave you with this one thought to perhaps open a mental door: The melody that opens the piece is the stepping-off point for all that follows in the next two and a half minutes, but then it disappears, and the music goes somewhere else entirely. Listen for it. The experience of wanting that melody to return, and it not returning and not returning and then — that’s the force that shapes the piece.

Hear pianist Kay Zavislak play this brilliant Ballade No. 3 in a Chopin Project live performance at the University of Michigan’s Britton Recital Hall.

Read the Wikipedia entry on the Ballade No. 3 here.

Dmitri Vorobiev

Hear pianist Dmitri Vorobiev play this poignant Nocturne in B major, Op. 62, No. 1 in a Chopin Project concert performance.

Here’s how it’s described in the 1905 book A Handbook to Chopin’s Works, by George C. Ashton Johnson:

You can read the entire book on Google Docs here.

Marie WodzinksaIs this indeed Chopin’s “farewell” to his Polish fiancee Marie Wodzińska? The autographed manuscript has the inscription “Pour Mlle Marie.” We’ll let the “Ain’t Nothing Like the Real Thing” blog pick up the story…with a tip of the hat…

#1 — In 1835, while in Dresden trying to find a cure or some relief for his “consumption”, Chopin renews his acquaintence with the Wodzinski family, who had lived in his father’s boarding house back in Poland years before. Their young daughter Maria is an accomplished pianist in her own right and Chopin falls in love with her. She is 17, he is 25.#2 — They maintain a strong relationship by letter and see each other periodically as Chopin criss-crosses Europe giving concerts and teaching the aristocracy. Not long after on September 9, 1936, Chopin proposes marriage during a holiday together, chaparoned by Marie’s mother. Marie accepts.#3 — Marie’s family tells the couple that the engagement will not be “official” until Chopin proves that he is gonna live long enough to take care of their daughter! He gets a one year trial period to improve his failing health or all bets are off. He also needs to prove that he can provide a stable home environment. Due to continual travelling and performing, he has not yet set up a permanent home.#4 — So into this milieu marches Georg Sand. They meet approximately October 24, 1836, a month or so after Chopin proposes to Marie. Chopin is ill and realizes he just may be rejected by Marie’s family as decent husband material. Sand is separated and soon divorced from her Baron husband and has 2 children, a boy, Maurice and a girl, Solange.#5 — As luck would have it, Chopin cannot do what the Wodzinski family requires of him. He becomes very ill over the winter months and eventually meets Marie in Germany the early part of July, 1837 after a series of concerts in England and the Netherlands. Marie’s family sees the state of his frail health and instructs her to reject his proposal….by letter….later. By the time he returns to Paris toward the end of July, he receives word of the broken “unofficial” engagement. He wraps Marie’s correspondence and the rejection letter in a bundle and labels it “My Sorrow”.

Other factoids, courtesy of Wikipedia:

This song was heard in The Others and in an episode of Mad TV where Stuart gets piano lessons. It is prominently used in the PC game Alone in the Dark as both the game over music and as a song you can hear if you pick up a gramaphone and a certain record, though this version is played in a different tempo.

Chih-Long Hu

Hear pianist Chih-long Hu play Chopin’s farewell piece – the Waltz in A-flat, Op. 69, No. 1 , in a Chopin Project live performance at the University of Michigan’s Britton Recital Hall.


The Waltz, c. 1806

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.

Arthur Greene plays
As Chopin Project Artistic Director Arthur Greene heads off to Novi Sad, Serbia, to judge and perform in the Isidor Bajic Memorial Competition, he leaves us a taste of his masterful Chopin interpretation with this performance of the Mazurka in C-sharp minor, Op. 6, No. 2.

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 website…

Chopin’s third waltz has been called a “piece full of melancholy, gloom and grief, expressed in mournful simplicity.”

Though, according to the Vancouver Chopin Society,

The composer Stephen Heller related that Chopin called this slow (Lento) waltz his favorite. When Heller told the Pole that he, too, loved it best, Chopin immediately invited him for lunch at a fashionable cafe. Frederick Niecks wrote of this piece, “The composer evidently found pleasure in giving way to this delicious languor, in indulging in these melancholy thoughts full of sweetest, tenderest loving and longing.”

Polina Khatsko

Hear pianist Polina Khatsko play this poignant Waltz in A minor, Op. 34, No. 2 in a Chopin Project live performance at the University of Michigan’s Britton Recital Hall.

Today the Chopin Project spotlight falls on Russian-born Michigan pianist Olga Kleiankina, performing the First Impromptu (in A-flat, Op. 29, No. 1) by Chopin. By its very title “Impromptu” is supposed to mean just that — just a perky, playful little ditty that Fryderyk would dash off at the keyboard without a lot of forethought or consideration. The reality is, of course, anything but that! Chopin’s Impromptus are eternally popular, and devilishly difficult to pull off. Olga Kleiankina adds, “I felt a lot of pressure preparing for these concerts and was more than a little anxious. But the audiences were very warm, and it turned out to be such a pleasure. Even though I didn’t happen to play any major works, (many of them were almost unknown, in fact!), I came to love all my pieces, and I felt the audience did too. Even though they were miniatures, I felt that each one was perfectly organized from the very inside – in a way, a microcosmos….part of the transcendental world of Chopin’s imagination.”

Hear pianist Olga Kleiankina play this Impromptu in A-flat, Op. 29, No. 1 before an appreciative Ann Arbor audience.

And read more about the Impromptus on

Paganini Chopin This rare bit of Chopiniana was supposedly written after violin virtuoso Niccolo Paganini came through Warsaw in the summer of 1829, a concert we know that Chopin attended. A month later he graduated from the Higher School of Music in Warsaw, where a teacher wrote, “Chopin, Fryderyk: third-year student, amazing capabilities, musical genius.”

Hear pianist Dmitri Vorobiev play these unusual Variations in a Chopin Project concert performance.

Chopin Mazurkas The Mazurkas, like the Polonaises, are the compositions closest to Chopin’s Polish roots. In fact, many Chopin scholars say the Mazurkas are Chopin at his most personal, experimental, and confessional: In his Mazurkas, you get to know the very soul of Poland and Chopin never forgot his home land or the poor farmers singing the Mazurkas during the time of harvest. Chopin started his composing with a Polonaise and ended with a Mazurka, thus closing the circle. This is also what makes people study Chopin’s 58+ Mazurkas intently. Check out The Mazurka Project – a British site offering comparative study of 3000 recordings of Chopin Mazurkas!

Hear pianist Xiaofeng Wu perform Chopin’s Mazurka in A minor, Op. 68, No.2 in concert at the University of Michigan’s Britton Recital Hall.

Xiaofeng Wu in performance

The world of music had never before known any etudes as original, as musical, or as difficult.Frank Cooper

This is one of the best-known (and arguably, the most difficult!) of the set of twelve etudes Chopin dedicated to Franz Liszt. The Etudes were published in a single volume in 1833, when Chopin was 23, although four of them are supposed to have been completed as early as 1829.

“Etude” literally means “study” or “exercise,” which is especially apparent in this particular work, which is designed to strengthen the “weaker” (that is, the third, fourth, and fifth) fingers of the right hand. But Chopin doesn’t stop there: the thumb and index fingers have to play the accompanying chords to the dizzying melody going up and down the keyboard on those “weak” fingers.

Just to underscore the technical nature of this Etude, Chopin even takes a page from the J.S. Bach playbook and indicates the fingering – note by note — of the almost 800 notes in this piece!

Hear pianist Xiaofeng Wu perform Chopin’s tricky Etude in A minor, Op. 10, No.2 in concert.

Some other links to Chopin Etudes, courtesy of Wikipedia:

Why are Chopin’s Waltzes so perennially appealing to pianists? The folks at the boutique label Brana Records offer a clue: nicely: “They incorporate a range of moods from melancholy to effervescent but retain an air of sophistication suited to aristocratic salons.”

This Waltz in F minor, in fact, steps right out of a Parisian drawing-room. It’s one of two works dedicated to Elise Gavard (she was also the dedicate of the Berceuse in D Flat major, Op. 57 – more on that in a later post). It was composed in 1842, but was not published until 1855, six years after Chopin’s death. Indeed there’s some scholarly speculation that Chopin didn’t really want it to circulate very much. The Chopin Music site calls it a work of beauty amidst lost longing:

This dance is a gloomy song of failed entreaty. Its melody glances slightly at that which it temporarily enjoyed. The central section is one of absolute beauty, characterizing its style almost perfectly.

Hear Soyoung Park perform Chopin’s Waltz in F minor, Op. 70, No. 2 at the Chopin Project Concert VIII.

Ballade in G minor, Op. 23 In the previous post we discussed an all-time Chopin favorite, the Nocturne in E-flat, Op. 9, No. 2. What then, is left to say about another Chopin classic – this Ballade in G minor?Plenty, it would appear. There’s an extremely technical description in the La Folia online music reveiew by Beth Levin:

…..A rhythm of 6/4 suggests an underlying waltz, as does the set of chords that plays off each melody note. Further, the chords lie under portamento slurs which give them shape, gently tug at the second and third beats, and increase the inherent dance quality. However, a waltz in G minor is colored by the key and therefore imbued with a tender poignancy. One dances, but with a heavy heart….

Then there’s an entire dissertation by a Swedish graduate student. Here’s his abstract:

The purpose of this work is to make a general presentation of Chopin, the age in which he lived, his G minor Ballade and selected editions of the Ballade. I will also compare five recordings of the G minor Ballade, and make a presentation and a recording of my own interpretation of the G minor Ballade. This work discusses his life up to the time the Ballade was published, Chopin’s development as a composer, and the period in his life when the Ballade was composed. Background material on the history of the Ballade as a genre and its development is included to give the reader an enhanced contextual understanding. The issue as to whether Chopin had a literary model when composing the G minor Ballade and his relationship with the Polish writer Adam Mickiewicz is discussed. This work considers the issue of form in the G minor Ballade, Chopin’s personality, how Chopin played, his use ofthe term ‘tempo rubato’, and how he used improvisation and composition.

Make what you will of this interpretation of an Arturo Benedetti Michalangeli fansite:

Miracle seems really a shortfall, rather than a longfall, when it is applied with Michelangeli’s Chopin (especially the Ballade in G minor, op. 23; Deutsche Grammophon 413 449-2): water seem to be loosing ground against the lack of distance. With proper distance however, there is a possibility the water might fall with greater flow and maturity. Michelangeli drive for that aim is to have more miracle and less than a human spirit is ultimately tested against the harsh background where one finds a waterfall equipped with sophisticated break-system.

Chopin primarily conceived the Work to be played out amongst the adult fellowship society of his peers nonetheless amounting to no fewer than the very composer himself as the sole guest. Chopin somehow wanted the work to be played by grownups; yet he himself when he conceived all this was a child. His excess employment of piano’s sustaining pedal is no justification for the larger framework thereof. He might have been using the principle to get beyond the fantastic element in the piano: he incorporated it into the Work very stylishly that the importance of the pedal desists when it is fused into the work as a whole. Sophistication still is called for. It is up to the individual pianist to start where it gains ground and appears appropriate to begin constructing the superstructure.

Last word goes to Arthur Greene:

The G minor Ballade, if I play it correctly, should need no introduction.

Want more? Deeper into the Web we go. How about this “Interpretation of the Narrative Grammar of Chopin’s Ballade in G minor?”

Three Ecossaises, Op. 72

Chopin at a Warsaw dance party Arthur Greene:

“In Warsaw, when Chopin was growing up, the social scene was extremely active, and anyone who wasn’t sick  would go to dance parties almost every night. And the star of these events was usually Chopin, because he was both a great dancer himself – and he played for all of the other dancers. He would usually improvise at one of these events . . . sitting at the piano and playing for hours, coming up with mazurkas, waltzes, and ecossaises. (pron “eh-koh-SAY”) Nobody dances ecossaises anymore, but these are the types of dances that Chopin would have improvised at a party, and if he really liked it, he’d then go home and write it down.”

Hear Arthur Greene perform Chopin’s Three Ecossaises, Op. 72 (1826)

This is one of the last pieces that Chopin played in public. The excellent notes from the Los Angeles Philharmonic’s website set the stage:

When in 1846 Frederic Chopin (1810-1849) completed the Barcarolle, the last work of its relatively large size to come from his pen, he was already laid low by the fatal illness that three years later would take his life. He must have had deep affection for the piece, for he included it on the program of a concert he gave in Paris, February 16, 1848, his last appearance in his loved adopted city. Reports of the event tell of this physically depleted man unable to play much above the level of pianissimo even in the Barcarolle’s most expansive sections, a depressing experience for his many friends in the audience.The Barcarolle is the single work of its type in his catalog, which is not surprising considering the limitations imposed by the necessity to maintain a “boat” accompaniment and to invent suitably artless – gondoliere – melodies. In light of these specific guidelines, Chopin has created a composition of remarkable continuity and diversity having, in this temperate context, unexpected dramatic intensity in a soaring climax. (Sudden storm on the Venice canal?) Read more of the notes here.

The Vancouver Chopin Society also has an interesting perspective of the performance challenges of this piece, along with some recording recommendations:

“…It has been the despair of many fine artists, being difficult to interpret successfully. It is easy to sound affected, as does [Claudio] Arrau, or nervous, as does [Vladimir] Horowitz, or too plain, as did [Walter] Gieseking. Chopin must have been its ideal interpreter… The Barcarolle displays Chopin’s ornamental genius in full bloom. Ravel wrote, “Chopin was not content merely to revolutionize piano technique. His figurations are inspired. Through his brilliant passages one perceives profound, enchanting harmonies. Always there is the hidden meaning which is translated into poetry of intense despair. . . . The Barcarolle is the synthesis of the expressive and sumptuous art of this great Slav.”

Maxim Mogilevsky

Hear Maxim Mogilevsky perform Chopin’s Barcarolle in F-sharp Major, Op. 60

Read the Wikipedia definition of Barcarolle
Find more recordings
More publishing information

Chopin’s First Piece

rev_greene03.jpg “The very first piece on the program is a piece that Chopin wrote when he was seven years old. It’s very typical of the music that was being written at that time in Warsaw…a little Polonaise…with even a little virtuosic flourish in it. But Chopin was too young to write the notes down on the page..his father wrote it for him. He had probably written some things before this, but this is the first surviving piece that we have.”Arthur Greene.

Hear Arthur Greene perform the Polonaise in G minor – Chopin’s first piece

Publishing Information from Pianopedia

Download the score from the Werner Icking Archive

Watch “Charlie” (5 yrs 11 months) play it on YouTube

Title Page - Chopin's Polonaise in G minor

As you look through the entries and listings of Chopin’s keyboard works on these pages, you may run into this funny “KK” designation, particularly in the early recitals.   It stands for the Kobylanska Katalog, and it’s assigned to works by Chopin that don’t have opus numbers.    It’s named after Polish musicologist (and former Curator of the Fryderyk Chopin Society Museum in Warsaw) Krystyna Kobylańska, who in 1979 authored Frédéric Chopin: Thematisch-bibliographisches Werkverzeichnis.  It is in essence a complete (and definitive) thematic catalogue of all the works by the Polish piano master – not unlike what Ludwig Koechel did for Mozart in the 19th century.

Experience the musical life of Fryderyk Chopin through his complete works for solo piano: from his earliest surviving work, a polonaise written at age 7, through his last mazurka penned in 1849.

The Chopin Project began as an ambitious live-concert-and-symposium series at the University of Michigan’s acclaimed School of Music, Theatre & Dance devoted to exploring the entirety of Fryderyk Chopin’s works for solo piano: Through a series of nine concerts at Britton Recital Hall, students from the piano studio of renowned teacher and performer Arthur Greene presented a complete traversal of Chopin’s works: from his earliest surviving work, a polonaise written at age 7, through his last mazurka penned in 1849. A complete list of participants in the U of M Chopin Project can be found here.


The applause for the acclaimed concerts (check out the blog comments here) had barely died away when Arthur Greene and his top students went into the studio to capture their insightful Chopin interpretations for the Digital Age for Block M Records. For the first time ever, all 129 compositions – the complete solo piano works of Chopin – will be available for download via the iTunes music store, this site, and a number of other online destinations.

But we didn’t stop there. The Chopin Project is really just beginning. We want to share all the resources and the research that went into the recitals, pre-concert talks, and symposia, and add a whole lot more besides: Our goal to create a global online resource for all things connected to the unique, magical, and captivating world of Chopin and the piano. Research, commentary, program, notes, audio, video, even musical scores…we want the Chopin Project to be your “one-stop shop” for considering all Chopin things.

That means we need your help! Your ideas, suggestions and contributions will really make the Chopin Project site “sing.” So bookmark us and explore, discover, and savor the genius of Chopin’s timeless creations.

After playing Chopin, I feel as if I had been weeping over sins that I had never committed, and mourning over tragedies that were not my own. — Oscar Wilde

chopin-head.gifThe Chopin Project is proudly presented by Frederick Slutsky Arts, exclusive representatives for pianist Arthur Greene and other acclaimed performing, visual, and creative artists.

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