Chopin was one of the composers who first made me realise that music was to be my life. At the age of six an LP of a selection of his works performed by Tamás Vásáry was a constant companion - I still cannot hear the E flat Waltz op. 18 or the G minor Ballade without a Proustian reaction to childhood memories. At seven my parents bought me Maurizio Pollini’s astonishing account of the Études. I could not believe that the piano could be played, or written for, like this. My obsession with music, the piano, and Chopin has lasted to this day.

In some ways Chopin has been badly treated, seen as “merely” a composer of piano music, or portrayed, largely thanks to Hollywood, as a weak and pathetic character who leaked limpid, beautiful Nocturnes to make us swoon. These views are a misrepresentation of one of the most innovative creators in musical history, whose output combines beauty, sensuality, sophistication and huge power in equal measure.

The most important element for me in music is ambiguity – a work’s emotional complexity is crucial for its enduring appeal. “Greatness” in art is predicated on uncertainty. A piece might end in triumph, resolution, or desolation but the journey will often conceal its final goal, even if the dénouement has been suggested obliquely and seems inevitable. In music this ambiguity is even more pronounced given the abstract nature of its meaning. As with many nineteenth century composers, Chopin’s harmonic language relies on instability to create drama. The home key might not be explicitly stated at the start, as is the case in the first Ballade, or he might explore many keys that are harmonically distant from the main tonality of the piece. Or the piece can end in a different key from the start, some famous examples being the second Ballade and second Scherzo and the A minor Prelude . The sophistication of a piece can be achieved through the constant variation of a very simple idea, of course – the Nocturnes are a perfect example of this where Chopin’s famous ability to spin an endless thread of increasingly complex melody is most evident; ambiguity through elaboration perhaps.

The cycle that I will be presenting at the Wigmore Hall combines a selection of Chopin’s works interspersed with pieces by composers who influenced him and on whom he had a great influence. Bach, Mozart, Schumann, Debussy, Ravel Szymanowski and Stockhausen all appear. My hope is that the refraction of their work through Chopin, and of his through them, will enable the listener to assess their music afresh and appreciate the endless and fascinating ambiguities once more.

Tim Horton
November 2024

Book now for Tim Horton's Chopin Series in the 2024/25 Season