160 Frédéric Chopin (1810 -1849) Scherzo No. 3, Op. 39 in C-sharp Minor Chopin composed four scherzos, with two more included as movements within his second and third piano sonatas. While earlier scherzos by Beethoven and Mendelssohn served as prototypes, Chopin took the genre to new horizons far beyond the traditional 3/4 rhythm. He transformed what was once a light, playful piece into a significant vehicle for virtuoso brilliance and deep emotional expression. The Third Scherzo was composed in 1839 during his stay in Majorca with George Sand, and was published the following year in Leipzig. Written while the composer was in failing health, as he sought relief from his condition in the Mediterranean climate, it nevertheless showcases the peak of his creative powers, combining virtuosity with profound musicality. The work focuses on the contrast between two distinct elements: a fiery, stormy first theme with thundering octaves, and a graceful, chorale-like second theme in D-flat Major that provides consolation through rich harmonies and sparkling arpeggios. The return to the opening themes reaches its climax at the end, with the full potential of the piano on display. Claude Debussy (1862-1918) La plus que lente - Valse Claude Debussy’s "La plus que lente" (translated as "More than Slow" or "The Even Slower Waltz") composed in 1910, is a gentle, ironic and sophisticated response to the widespread influence of the ‘valse lente’ (slow waltz) that was highly popular in the coffee-houses, dance-halls, and salons of Paris at the time. Debussy held a deep fascination for the waltz form and its social implications, famously keeping a small sculpture by Camille Claudel titled "La valse" in his study. The piece was closely tied to his interest in the world of café music, and was specifically inspired by Leoni, a popular gypsy fiddler whose Romany band performed at the New Carlton Hotel in Paris. Debussy reportedly handed the manuscript to Leoni, aiming the work at a hotel audience that he perhaps perceived as less sophisticated listeners who might or might not have detected his humorous ironic intent. The score is marked “molto rubato con morbidezza”, instructing the performer to play with a flexible, exaggerated slowness and a certain "softness" or indulgence. Musically, it is a masterclass in atmospheric parody, evoking the essence of a smoky cabaret through a fluid, improvisational melody characterized by sudden hesitations and chromatic glissandos. Through its exaggerated slowness and implied nostalgic tone, Debussy transforms a common popular style into a profound "dance-poem" that suggests the decadence and inevitable fate of an era. Felix Mendelssohn (1809-1847) “Spinnerlied” from “Songs Without Words” Op. 67, No. 4 Mendelssohn was one of the greatest child prodigies in music since Mozart and a prolific composer already in his teens. His outstanding style is enjoyable and easy on the ear. Mendelssohn was a close friend of Robert Schumann. Together, they shaped the early Romantic music style in Germany. Opening Event
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