Save for Chopin’s forays into a negligible number of songs and instrumental works, his entire musical output is for piano. It’s unfortunate that there are a small number of his works which are all but forgotten. Although many of these are early works, they still show a mastery of imaginative composition and have the whimsical lilt harkening to Poland that is unmistakably Chopin.
Chopin’s op. 1 and op. 5 Rondos
Written in 1825 and 1826 respectively, these two works met with great acclaim in their day. The well-respected music critic James Huneker proclaimed op.1 to be “much more remarkable, than Schumann’s Abegg Variations.”1 Great technical prowess is not needed to play this Rondo, but what it lacks in devilish finger-work it makes up for in spritely Polish rhythms and an air of enjoyment.
The op.5 Rondo was also a crowd pleaser. Like op.1, it has a distinct Polish cast to it, and is even titled Rondo a la Mazur, a Mazurka being a Polish dance. Op. 5 is typical Chopin. The beautiful melodies, embellished with ample filigree that does not override any melody’s importance, are soaring and flow easily. This Rondo speaks of Chopin’s deep love for his country, and is the work of a fully developed artist.
The Krakowiak Rondo
Also titled Rondo a la Krakowiak, this large, one-movement work for piano and orchestra was written in 1828. Again, Chopin chooses the rhythms of a Polish folk dance as the backbone of this work. The laid back introduction subtly melts into the lively rhythms of a Krakowiak, which is used as the Rondo’s main theme. Although the orchestra has little to do, the piano part is engaging and there is never a dull moment.
The Bolero
The title of this fiery work for solo piano suggests Spanish elements, but Chopin‘s Bolero takes a turn into Polish territory. After the rapid introduction arpeggios, the Bolero has a distinct Polonaise flavor and rhythm to it, which remains throughout the piece. In Frederick Chopin as a Man and Musician, Frederick Niecks wrote “Chopin’s Bolero . . . may be described as a Bolero a la polonaise.” Despite this, it is an exciting piece to play.
It’s a loss that the above-mentioned works hold little place in the standard pianists’ repertoire today. While the musical depth of the Rondos and Bolero might not be as compelling as Chopin’s Ballades or Scherzi, they are still small gems in their own right.
There are some pianists who have made marvelous recordings of these early works: Abbey Simon’s rendition of the Krakowiak Rondo paints an achingly beautiful picture of dawn breaking over the Polish countryside, which melts into an exciting day of dance and fun. Frederic Chiu’s recording of the Rondos op. 1 and 5 sparkles with brilliance. Listening to either of these recordings, it’s hard to imagine how these works are so often glossed over by respected pianists of the day.
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