This year marks the two hundredth anniversary of the birth of Frdric Chopin. Today's Wall Street Journal has a fine article by David Dubal on Chopin's "Preludes." Dubal writes:

Most of the 24 Chopin Preludes were sketched out between 1837 and 1838. They are the ultimate miniatures. In an age when the symphony and sonata still held sway, writing these aphoristic Preludes was revolutionary. All except two contain a single musical idea, each boiled down to its essence. Never had brevity been so brief. Ten are under a minute in length; nine last just over a minute. Only the celebrated No. 15, the so-called "Raindrop Prelude," attains the length characteristic of a small piece, clocking in at 4 minutes.Fourteen of the Preludes are full of light, gaiety, serenity and a kind of happiness. Seven contain anguish, rage and fury. Three are simply sorrowful. No matter how tiny, the Preludes loom large musically. Each one is a masterpiece of compressed emotion blended with an unequaled pianistic ingenuity and originality. Many of them are horribly difficult to play. When Robert Schumann read them, he proclaimed Chopin to be the "proudest poet soul of the age."

Until I read the article, I had not realized Chopin's inspiration was Bach:

As a child in Warsaw, Chopin was nourished on the then practically unknown preludes and fugues of Johann Sebastian Bach, composed in each of the major and minor keys and collectively known as "The Well-Tempered Clavier." Chopin was one of the rare pianists of his time who played most of them, and Bach remained his ideal. During the creation of the Preludes he was particularly obsessed with Bach, and took "The Well-Tempered Clavier" with him on a vacation to Majorca in November 1838, where the Preludes were refined and polished.

The rest is here.

Robert P. Imbelli, a priest of the Archdiocese of New York, is a longtime Commonweal contributor.

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