Hogarth on Chopin

“He accomplishes enormous difficulties, but so quietly, so smoothly and with such constant delicacy and refinement that the listener is not sensible of their real magnitude.  It is the exquisite delicacy, with the liquid mellowness of his tone, and the pearly roundness of his passages of rapid articulation which are the peculiar features of his execution, while his music is characterised by freedom of thought, varied expression and a kind of romantic melancholy which seems the natural mood of the artist’s mind.”

George Hogarth, in the Daily News, 10 July 1848.  Cited in: Zaluski, Iweo & Pamela (1993) The Scottish Autumn of Frederick Chopin. Edinburgh: John Donald Publishers, p.7.

Incidentally, Chopin used to refer to the Daily News as “Delinius”.


Posted

in

,

by


Featured Content

Reich on the accessibility of his music
American composer Steve Reich on his compositional process: When I compose, I notice I’m the only one in the room. (laughs) I tend to be a somewhat self-critical person. I use my emotional faculties to judge whether I want to hear something again. Basically I have no one in mind except pleasing myself. And my […]
Art and humanity
“Writing and performing an opera, creating any work of art in a world of violence and ease, hunger and obesity, could seem to be an act of private withdrawal. But art isn’t about itself, it’s about how men relate to the world and each other … Asking artists to keep politics out of art is […]
Forgive (Tchaikovsky)
Title: Forgive ( Прости!) (opus 60, no. 11] Composer: Pytor Il'yich Tchaikovsky (arr. Greg Smith) Instrumentation: Cello and piano Product medium: PDF score and part Sample:
Brian Wilson to complete Gershwin songs
In a surprise union of two quintessentially American composers from different eras, one the 1960s mastermind of “Good Vibrations,” the other the Jazz Age creator of “Rhapsody in Blue,” former Beach Boy Brian Wilson has been authorized by the estate of George Gershwin to complete unfinished songs Gershwin left behind when he died in 1937. […]
The addictive nature of song writing
“You know it’s sort of addictive because there is all this gold just floating in the ether around you. The process of song writing is this process of just discovering and putting together these beautiful animals that live on their own and run around the world and make people feel good or go on trips […]
Many an Orpheus and Arions make up a Bach
Johann Matthias Gesner was a colleague of Johann Sebastian Bach at St. Thomas’ School, Leipzig. He later worked on a commentary of the Roman author Quintilian (c. 35-100 A. D.). He included a comparison of Bach with the Classical lyre player: All these (outstanding achievements) … you would reckon trivial could you rise from the dead and […]
Chopin’s pianistic style
While in London, Chopin frequently gave performances at soirées and matinées where he performed Nocturnes, Waltzes, Mazurkas and the Berceuse George Hogarth reported in the Daily News (10 July 1848): He accomplishes enormous difficulties, but so quietly, so smoothly and with such constant delicacy and refinement that the listener is not sensible of their real […]
Here I Am, Lord – Psalm 39 (40)
Title: Here I Am, Lord Text: Psalm 39 (40): 2, 4, 7-1.  R. vv.8-9 Composer: Greg Smith Instrumentation: SATB and piano Product medium: PDF score and part SAMPLE:    
The development of concert life in London
The public concert, as an institution, dates from England from the Restoration period [from the 1660s]; previously music, unless ecclesiastical or dramatic in character, had been essentially the art of a small circle.  The largess of aristocratic patronage and the profits of publication were the composers’ rewards.  But with the middle of the seventeenth century […]
Saint-Saëns on the art of music
The artist who does not feel completely satisfied by elegant lines, by harmonious colours, and by a beautiful succession of chords does not understand the art of music. — Camille Saint-Saëns Cited in Milton Cross David Ewan, Encyclopedia of Great Composers and Their Music, volume 2. Double Day, 1969, p.819.