Chopin's Andante spianato and grande polonaise
performed on August 19, 2014 at Staunton Music Festival
Trinity Episcopal Church, Staunton, Virginia
Regier piano (after Graf 1830) kindly loaned by Mr. Vernon McCart
Andrew Willis (fortepiano)
Kyu-Young Kim (violin)
Martin Davids (violin)
Vladimir Mendelssohn (viola)
James Wilson (cello)
Anthony Manzo (double bass)
Video by Stewart Searle
About the Music
The enormous output of Frédéric Chopin (1810-49) contributed to the development of both piano literature and pianos themselves. His Andante spianato and Grand Polonaise, Op. 22, demonstrates the piano’s singing tone as well as its percussive, rhythmic excitement. The work came together in two stages, beginning with the Grand Polonaise in E-flat. Chopin produced about two dozen polonaises, ranging from his first composition written as a seven-year-old to his last example, completed just three years before his death. The genre was a traditional dance enjoyed by Polish peasantry at carnivals and coming-of-age celebrations, but it was then adopted by the aristocracy and became more cosmopolitan and broadly European in appeal. In general, its virile quality contrasts with the more tender strains of the mazurka; the polonaise definitely contains an element of soldierly bravado.
In the E-flat Grand Polonaise, strident chord progressions evoke the spirit of military procession, while Chopin brilliantly carves out space to add glittering ornaments and decorations. It was originally conceived as a work for piano and orchestra in 1830. About two years later, in preparation for a long-awaited chance to perform at a prestigious Parisian concert series, Chopin wrote an extended nocturne-like introduction for solo piano. He called it the Andante spianato in reference to the smooth (spianato) and ebullient arpeggios that support a disarmingly simple melody. With and without the Grand Polonaise, the Andante spianato has become a favorite encore piece. When placed together, the works embrace both the lyric and heroic sides of Chopin’s genius.
© Jason Stell, 2014
In 2017 Andrew Willis led a fabulous period-instrument performance of Schubert's beloved "Trout" Quintet. Featuring Guillaume Pirard (violin), Kyle Miller (viola), James Wilson (cello), and Heather Miller Lardin (double bass). Program notes included.
Acclaimed pianist Andrew Willis welcomes you to see and hear two of his own early keyboards: a Bösendorfer from 1841 and a Pleyel built in 1848. Both are ideally suited to the performance of Mendelssohn, Schumann, and Chopin. Andrew discusses differing Viennese and Parisian tastes and how these preferences influence each piano's basic mechanism and construction.
In 2019 Andrew Willis joined with other Festival musicians for a rousing performance of Mendelssohn's Capriccio Brillant--a modest-sized piano concerto in all but name. Performing on a stunning replica of an 1830 Graf, Willis reveals the beauty of yet another early piano. Includes program notes.
Andrew Willis and Carsten Schmidt team up in 2019 for a performance of Schubert's Fantasie for four hands, one of the most compelling works in the genre. Program notes included.
EXPLORE OTHER PERSPECTIVES