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After 1834- 5, Chopin's activity as a public pianist began to wane. He was not always understood and was not so warmly welcomed as he deserved to be; on one occasion when he played the Larghetto of his F minor concerto in a Conservatoire concert, its frigid reception annoyed him very much. Nevertheless he appeared at a benefit concert at Habeneck's, April 26, 1835.
The former was published April, 1836; the latter September, 1833. The slow movement of the F minor Concerto was composed by Chopin during his passion for Constantia Gladowska. She was "the ideal" he mentions in his letters, the adagio of this concerto. This larghetto in A flat is a trifle too ornamental for my taste, mellifluous and serene as it is. The recitative is finely outlined.
A fiery "Triumphal March," a delightful "Canzonetta," and a noble "Larghetto," of sombre, yet rich and well-modulated, colors, complete the list of his works for the organ. None of these are registered with over-elaboration. To sacred music Parker has made important contributions.
The second movement is a larghetto highly embroidered. The third movement is a vivace with the spirit of a Beethoven presto. Opus 36 is a suite for violin and piano, beginning with a most engaging and most skilful Novelette.
Chopin wrote of the C minor Sonata: "As a pupil I dedicated it to Elsner," and oh, the irony of criticism! it was praised by the critics because not so revolutionary as the Variations, op. 2. This, too, despite the larghetto in five-four time. The first movement is wheezing and all but lifeless. One asks in astonishment what Chopin is doing in this gallery. And it is technically difficult.
Come, let's have some music; nothing else will keep him in good humor till lunch-time. THE MISTRESS. What shall it be? THE PARSON. Give us the larghetto from Beethoven's second symphony. The Young Lady puts aside her portfolio. Herbert looks at the young lady. The Parson composes himself for critical purposes.
Xavier could or would never see the close resemblance of intervals to wet blankets, extinguishers, palls and hostile critics. The Allegro movement of the Concerto was a real success, and the audience as a whole would have applauded even more if the gallery in particular had not applauded so much. The second or Larghetto movement was also a success, but to a less degree.
Come, let's have some music; nothing else will keep him in good humor till lunch-time. THE MISTRESS. What shall it be? THE PARSON. Give us the larghetto from Beethoven's second symphony. The Young Lady puts aside her portfolio. Herbert looks at the young lady. The Parson composes himself for critical purposes.
The second movement, the Larghetto, is interesting on account of the introduction of conversation among the groups of instruments, an innovation which he exploited to a much greater extent in subsequent works. In the Larghetto one group occasionally interrupts the other, giving it piquancy. There is a rhythm and swing to it which makes it the most enjoyable of the four movements.
The first movement was a poem of youthful hope and desire; the last a lover's joke, in which Jean-Christophe's wild humor peeped out. But the whole work was written for the sake of the second movement, the larghetto, in which Jean-Christophe had depicted an ardent and ingenuous little soul, which was, or was meant to be, a portrait of Minna.
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