Frédéric Chopin  (1810 - 1849)
Piano Concerto No.2 in F minor, Op.21
         
The Piano Concerto No. 2 in F minor, Op.21, was composed by Frédéric Chopin in Fall 1829. Chopin composed the piece prior to completing his formal education, at about 20 years. It premiered, 17 March 1830, in Warsaw, Poland, with the composer as soloist. The premiere was so successful that it was repeated five days later. It was the second of his piano concertos to be published (after the Piano Concerto No. 1), and so was designated as "No. 2", even though it was composed first.                  

Of all the world’s great composers no other than Frederic Chopin wrote such an abundance of music for a solo instrument—169 compositions exclusively for pianoforte. Even in a small remaining handful, including his two piano concertos, the piano still played a dominate role. In comparison, Beethoven’s piano works often reflected an orchestral structure. In much of Schubert’s piano works, there is an underlying sense of the human voice. The genial and intimate music of Chopin bears in mind but one instrument—the piano. And to this end his compositions were revolutionary. He found in the piano dynamic harmonies never before realized.            

By the age of six Chopin had mastered the piano; his talent was extraordinary and inherent. At 19 he was already recognized in both his native Poland and many other venues he had toured as a concert pianist.  In 1829 he set out for England by way of Paris “searching for a fortuitous career.” However, Paris greeted him with such enthusiastic praise that he got no further. Here he found Robert Schumann who provided a “universal endorsement of him as a genius.”            

‍Here also he met the cigar-smoking French novelist George Sand, a woman who moved in the privileged and influential circles of Paris—an environment Chopin openly embraced and where he believed he belonged. Their relationship was long and tempestuous ending with Sand’s notable absence at Chopin’s funeral.            

Their endearing popularity of both Chopin’s piano concertos cannot be questioned, perhaps best embodied in Franz Liszt’s comment after hearing the No. 2 in F minor: “...of ideal perfection, its expression radiant with light, now full of tender pathos.” 


Samuel Bisson  (1984 - )
In Memoriam

Award-winning Canadian composer and cellist Samuel Bisson and has had many works performed by ensembles across the nation. He composed the score to the prized short film Nuit Blanche, as well as the sound track to the Mandarin language feature film Lovesick, released theatrically in China and Taiwan. Beyond the boundaries of classical performance, Samuel is an active performer/arranger in a variety of music genres. He has been involved with projects that stylistically range from jazz and Broadway to metal and electronica, and has collaborated with artists such as Drake, Sarah Brightman and members of Bare naked Ladies and Our Lady Peace.

The highly inspirational “In Memoriam” was originally written for string quartet and was dedicated to a close friend of Mr. Bisson’s in homage to the passing away of her brother. The work bares the indication: ‘“To Dian, in the memory of her brother.” It has been reworked for string orchestra during the winter of 2023, for which it is receiving its first performance here, in its new guise. This performance is appropriately dedicated to the victims of the terrible pandemic that has afflicted all Canadians in the past three years. Of note is the fact that the composer will be part of this performance as cellist- we are proud to count the talented Mr. Bisson as a member of Ontario Philharmonic.   


Frédéric Chopin  (1810 - 1849)
Piano Concerto No.1 in E minor, Op.11            

The Piano Concerto No. 1 in E minor, Op. 11, was written by Frédéric Chopin in 1830, at 20 years old. It was first performed on11 October 1830, at the Teatr Narodowy (the National Theatre), Warsaw Poland, with the composer as soloist, during one of his "farewell” concerts before leaving Poland for France.

Although it was the second to be composed, it was the first of Chopin's two piano concertos to be published, and was therefore given the designation of Piano Concerto "No. 1" at the time of publication. It was actually written immediately after the premiere of what was later published as Piano Concerto in F minor.

The premiere was "a resounding success.... a full house." according to the Kurier Warszawski. The performance was followed by "thunderous applause."

Seven weeks later, in Paris, following the political outbreaks in Poland, Chopin made his French debut of the concerto at Salle Pleyel where it was enthusiastically received. François-Joseph Fétis wrote in La Revue musicale," There is spirit in these melodies, there is fantasy in these passages, and everywhere there is originality."

The great Robert Schumann reviewed Chopin's concerti in 1836 for the Neue Zeitschrift für Musik, stating that "Chopin introduces the spirit of Beethoven into the concert hall" with these pieces.

Young, dashing and already famous, Chopin was completely at ease in the company of a Parisian aristocracy that offered him total acceptance. Both Felix Mendelssohn and Franz Liszt applauded his talents publicly, and after changing his name from the Polish Fryderyk to Frédéric, his transition to becoming French was all-embracing.

Historically, there have been numerous criticisms and opinions about his concerto. The most common of these is that the orchestral support is nothing more than just that, simple accompaniment for the dominant piano. Virtuosic pianist and composer Johann Hummel went so far as to suggest “the openings of his Piano Concerto in A minor and the Chopin E minor concertos are too close to be coincidental". Conversely, other scholars suggest that the orchestration has been clearly and consciously crafted to fit the solo instrument.

The concerto’s four-minute first movement introduction recalls some Beethovenian suspense before the dominant piano enters. What follows is the ineffable melodic purity that can only be Chopin.

The second movement Romanze introduces an atmosphere of lyric meditation, as in one of the composer’s nocturnes. Chopin described the music as “resting on a beloved landscape that calls up in one’s soul beautiful memories, for instance, a fine moonlit spring night”.

The third and final movement encompasses one of Chopin’s cherished passions—the Polish dance—high energy, foot-stomping rhythms. The concerto’s overall effect is that of beauty wherein the piano is a prevailing form from beginning to end.