Variations on Mozart’s “Là ci darem la mano,” - by Frédéric Chopin

Variations on Mozart’s “Là ci darem la mano,” by Frédéric Chopin
Performed Sunday, May 7th, 2023 | First Christian Church
Piano: Adam Zukiewicz
Conductor: Thomas Wilson
Audio/Video: Michael Lascuola
Program Notes: Jennifer Carpenter
Don Giovanni (1787) may be Mozart’s most popular opera. Don Juan (Don Giovianni) is certainly one of literature’s most infamous seducers. His story resonated deeply in a Europe that was equally sternly religious and intensely pursuing Enlightenment philosophies: despite the Don’s irreverence and ultimate descent into hell, Giovanni was human, with foibles and tenderness understood by the masses. By the 1820s, Don Giovanni was one of Europe's best loved operas - the famous Act 1, scene 3 duet Là ci darem la mano (“There we will give each other our hands”) occurs when the Don is trying to seduce the peasant girl, Zerlina, away from her fiancé Masetto.
Chopin was neither the first, nor the last to set the aria to a set of variations. Beethoven used it twice, and both Berlioz and Liszt also appropriated the melody into works of their own. One can even watch the antithesis of seduction in a scene from The Muppet Show as Miss Piggy and Link Hogthrob attempt to upstage each other to a remix of this aria!
Chopin was the young age of 17 when he composed his Variations on Mozart’s “Là ci darem la mano,” op. 2, his first work for piano and orchestra. His composition immediately garnered the attention of audiences and critics including Robert Schumann, who, after first hearing the Variations by the then-unknown Polish composer in 1831, declared, “Hats off, gentlemen, a genius.” Schumann’s praise in his widely distributed publication surely helped launch Chopin’s career throughout Europe. Both Robert and young piano virtuoso Clara Wieck (soon-to-be Clara Schumann) immediately set out to learn the piece themselves “in a literally obsessive manner.”
Chopin’s Variations begin with an introductory Largo filled with a pathos that is rather astounding for his young age. By the time the “Là ci darem” tune finally arrives outright, it appears in its simplicity and light-heartedness to contrast with the romantic-era emotions of the first few minutes. Each successive variation progresses with increasing vigor - this is, afterall, a showpiece for the prowess of the young Chopin! The orchestra returns with the heavy hand of fate for Giovanni in the “Adagio” variation. Giovanni replies, in turn, with the Coda “Alla Polacca” - a macabre dance to taunt the devil.