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Scriabin 150: A Genius under the Magnifying Glass
Last December, in preparation for the Scriabin 150th anniversary (2022), the new complete edition of Alexander Scriabin’s works was published, in twelve volumes. Eric Schoones spoke to the pianist and musicologist Pavel Shatskiy, who was responsible for publishing the piano works. They talked about the composer and pianist Scriabin, his piano, the influence of Chopin and the A.N. Scriabin Memorial Museum in Moscow. Read more >>

Topic: Chopin REALLY didn't like it when you changed the title of his works!  (Read 1747 times)

Offline mjames

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He returns to the intoxication of Towianism: ‘Mickiewicz will end up in a bad way if he does not mock You’. He intends to break his contract with the London company which had hitherto published his works. To Fontana: ‘That wretched Wessel, I shall no longer send him, that Agréments au Salon, anything ever. Perhaps you did not know that this is how he called my Second Impromptu [in F sharp major] or one of the waltzes’.

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To Fontana: ‘As for Wessel, he is a dolt, a cheat […] If he made a loss on my compositions, it was doubtless because of those idiotic titles that he gave them, in spite of my forbidding it and in spite of repeated ridicule’. The Nocturnes Op. 9 were given the title Les Murmures de la Seine, Op. 15, Les Zéphyrs, Op. 27, Les Plaintives, Op. 32, Il Lamento (B major) and La Consolazione (A flat major), Op. 37, Les Soupirs, the Ballade in G minor La Favorite, in F major La Gracieuse, the Scherzo in B minor Le Banquet infernal, and in B flat minor La Méditation. Chopin did give his consent to some titles, e.g. for Souvenir de la Pologne, given to successive mazurka cycles.

https://chopin.nifc.pl/en/chopin/kalendarium/125_the-years-of-refuge-18411846/81

Think of that next time you call it Tristesse or whatever!  ;D
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Offline anacrusis

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That's hilarious. If I were Chopin, I'd be pissed off too. Those titles are truly tasteless  ;D

Offline musikalischer_wirbelwind_280

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Agreed, it was a very lousy habit of some editors et al. insisting on giving pieces "romantic / poetic" names or whatever, but then again I guess it worked to a certain extent in some cases, where such a device bolstered, for better or for worse, the popularity of certain works.

I admit I fell more than once into that trap myself in my younger years, where titles of that sort usually made me much more interested in those pieces than the old boring prelude, suite, nocturne, sonata, waltz, symphony etc.

As a side note, and if I remember correctly, I once read Frédéric was not particularly kind in his opinions on the Brits' music-making, either, but he especially despised when they all complimented him on his works saying they sounded like "flowing water" or something to that effect  ;D , as well as the way they kept looking at their hands and swaying idiotically while they played them.

Hmm, wait a sec...



Sorry, never mind.

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