We can’t decide if Anthony Tommasini‘s talk of “making the cut” — as he puts together his list of top-ten classical composers — is silly or just plain odious. Here we find him struggling to make a decision about Chopin, about whom he writes very well.

Chopin, the most original genius of the 19th century, is a good example. Striving for greatness was the last thing on his mind. Chopin had his own select list of past greats he revered, topped by Bach and Mozart. And he loved bel canto opera, especially by that melancholic melodist Bellini.

But the Beethoven symphonic imperative that hung over and intimidated his fellow composers meant nothing to Chopin. He did not care about writing large, formal works, certainly not symphonies. Even his Second and Third Piano Sonatas (the First is an early work), though astounding, are completely unconventional. Chopin respected his composer colleagues, but he was not especially interested in their work. He was a pianist who composed. To him there was no distinction between the activities. And he seldom performed piano works by other composers.

Beethoven consciously strove to be great, even titanic, and he thought he was. His legacy is defined by intimidating bodies of symphonies, string quartets, piano sonatas and more, now canonic. How does an individualist like Chopin “rank” in comparison? Chopin’s ethereal nocturnes, poetic ballades, audacious scherzos, aptly titled impromptus and lacy waltzes often sound like written-out improvisations.

It seems to us that Chopin’s success at honoring Bach and Mozart (and Scarlatti) while remaining outside the shadow of Beethoven is reason alone to place him in the pantheon — a pantheon built to honor however many great composers there are, not an arbitrary “top 10.”

Drop me a line at rjk@dailyblague.com
This entry was posted on Thursday, January 20th, 2011 at 6:00 pm.