Andante Spianato and Grande Polonaise Brillante, Op 22 (Chopin).

The Andante spianato and Grande Polonaise in E flat major Op 22 exists in two versions, for solo piano (the version most frequently heard) and for piano and orchestra (the original version), the last work that Chopin wrote in this form.
The polonaise section was composed in Vienna in 1830 shortly before his arrival in Paris. Perhaps tiring of the glittering stile brillante, Chopin set it aside until he had the inspired idea of prefacing it with a work of an altogether different character that he added in 1835. It is really a nocturne: indeed, it seems that Chopin may have conceived the Op 27 nocturnes as a triptych to include this work in G major. The Andante spianato (spianato means "even" or "smooth") for solo piano was composed as an introduction to the polonaise after Chopin received a long-awaited invitation to perform in one of Habeneck’s Conservatoire Concerts in Paris.
It may be, in the words of one commentator, ‘a fairly arbitrary coupling’, but it is nevertheless wonderfully effective and the only one of Chopin’s works for piano and orchestra, other than the concertos, to have retained a regular place in the repertoire.
The combined work (both orchestrated version and solo piano version) was published in 1836, and was dedicated to Madame d'Este.
The quiet rippling effects of the introductory section are borne in a gentle 6/8, rounded with a chordal trio, and a more processional 3/4.
(The introduction, the Andante, is in the style of a nocturne, making a marked difference to the polonaise; this has its own introduction played by the full orchestra, announced with a trumpet fanfare in the orchestral version. The polonaise itself has a rousing, energetic character which does not let up for the majority of the work except for a few passages which contrast greatly with what follows e.g. at 10'23'' a soloist sings or plays with great power and fearlessness showing his bravery and courage against the foe, but he does show his tender side at 10' 42'', but then its back to the business in hand. At 11'33'' there is a much more graceful and gentler render of the dance which gradually gives way to a vigorous return to the more vivacious polonaise At the reprise of the opening at 12' 58'' it is a much-more subdued version, but this mood gives way to everyone being encouraged to join in with the dancing at 14'46'' with great bravado and high spiritsto the end).
GlynGlynn, alias GB, realiser.
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(Since music is an aural art, and not a visual one, it is best to listen to these pieces, and other artists performances, with eyes closed, so as to be able to listen intently as to how the music is portrayed).

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