Of all of Chopin's works, the Mazurkas are the ones that most strongly express his love for his homeland. “Mazurka" is a general term for Polish three-beat dances, derived from Mazur, the name of a place in northeastern Poland where Mazury originated.

Chopin must have been familiar with Mazurka from an early age. The experience of playing Mazurka during his summer vacation in Šafarnia (a village about 250 km north of Warsaw) at the age of 14 or 15 was particularly memorable and became the foundation for his subsequent compositions.

Within a single work, Chopin created Mazur (characterized by lively rhythms and distinctive accents), Kujawiak (with a gentle tempo and supple melodic line reminiscent of singing or choral singing), and Oberek (with a lively, circling dance, characterized by fast-changing melodies and often written at a fast tempo, such as presto.), and he composed as many as 60 Mazurkas.

Mazurka No. 5 in B flat major Op.7-1 (Poetry Demo #05)
This is a lively Mazur powered by the dotted rhythm of the first beat. Its dotted rhythm changes its expression along with the music. In the middle section, a melancholy melody accompanied by an empty fifth in G flat major is played along with a fleeting Kujawiak, creating an exquisite contrast.

Mazurka Op.67

Op. 67, consisting of four pieces of different years of composition, was compiled by his friend Fontana after Chopin's death and published in 1855.

Mazurka in G major Op.67-1 （Poetry Demo #34）
Mazur is full of folklore. It is as if one can see people merrily singing and dancing in the taverns of the town. Is the accent on the third beat the people's shout of "Hey! is the accent on the third beat? It is said that Chopin composed this piece when he reunited with his parents in Karlsbad (now Karlovy Vary, Czech Republic) after five years.

Mazurka in G minor Op.67-2 （Poetry Demo #35）
It is a melancholy, melancholic Kujawiak with Mazur in the middle section. The work was written in Chopin's last years, and a sense of resignation pervades the entire piece, but Mazur, which suddenly appears, seems to be reminiscing about the distant homeland.

Mazurka in C major Op.67-3 （Poetry Demo #36）
While clothed in a waltz-like elegance, the middle section reveals an Oberek-style musical sentiment. This piece, also from the same period as the first piece, G major, conveys the joy and liberation of being reunited with his parents.

Mazurka in A minor Op.67-4 （Poetry Demo #37）
Kujawiak is tinged with melancholy, as if tears are spilling out. The middle section turns major, but a melancholic mood prevails throughout.

Nocturne is a genre first established by Irish composer John Field (1782-1837), active during the reign of Ludwig van Beethoven (1770-1827).

This style of music, which reproduced the bel canto style of Italian opera on the keyboard with arpeggio accompaniment, was very innovative at the time. This style of music would not have been possible without the development of the piano as an instrument. The effect of the pedal, in particular, was enormous, as it enabled sounds to be sustained for long periods of time, melded with each other, and enriched the resonance of the sound.

Deeply impressed by Field's music, Chopin developed his own music, reflecting it in his own works.

Chopin's ideal was to incorporate the slow singing style of operatic arias into his piano works in order to express deep lyrical emotion. And just as "serenades," also translated as "nocturnes" or "nocturnes" after the 16th century, were music that dedicated a love song to the lover at the window under the stars, "nocturnes" may have been a genre that allowed Chopin to portray his inner voice, as in an intimate confession.

Nocturne in B Flat minor Op.9-1 （Poetry Demo #11）
This work, which marks the beginning of the nocturne genre, was composed in Paris, France, a musical center that was finally available to him, and was dedicated to his lifelong companion Marie, wife of Camille Pleyel (1788-1855), president of the Pleyel instrument-making company. The contrast between the melancholic first theme of the B Flat minor and the mild second theme of the D Flat major are harmonized beautifully, with Coloratura (the part in songs and operas where the voice is sung with rolling, detailed ornaments in a gorgeously fast manner) interspersed throughout.

Nocturne in E Flat major Op.9-2 （Poetry Demo #04）
It is one of the most beloved of the nocturnes. The way the melody is spun with changing ornaments has a lacy delicacy and elegance. According to the recollections of Chopin’s pupils, he improvised the ornamentation (variants) each time he played. The jeweled coda is also fascinating.

Nocturne in D Flat major Op.27-2 （Poetry Demo #40）
One day, the most distinguished figures in the literary and musical worlds were gathered in a salon for a chat. A violinist performed a piece of his own composition, which moved the audience. Chopin, who was listening to the music, composed this piano piece on the spot. The two themes appear alternately with beautiful ornamental variations, and the duet-like overtones of the second theme add depth to the piece. Together with No. 2, it is the most popular nocturne.

Nocturne in C Sharp minor KK.IVa-16/BI 49 (Op.posth) （Poetry Demo #41）
Today it is generally known as a "nocturne," but when it was published in 1875, it was titled "Adagio," with the speed indication "Lento con gran espressione" (slow and expressive). The first edition also opens with "For my sister Ludwika Chopin to play before practicing the Piano Concerto No. 2," and a musical phrase taken from the Piano Concerto No. 2 appears in the middle section. When Ludwika catalogued Chopin's unpublished works, it was labeled "Lento w rodzaju Nokturna".

The Etudes (Exercises), consisting of 12 pieces each in Op.10 and 25, are too artistic to be called a collection of exercises, and can be considered a collection of small pieces for concert performances, in which Chopin's pianism is concentrated.

The idea to compose this collection was inspired by his two ambitious piano concertos, which he composed when he was 19 years old. Both works are considered masterpieces, but along with their musical excellence, they are notable for the high level of technique required to play them. To play them well, Chopin's unique pianism is required.

Therefore, Chopin himself decided to compose the exercises to convey his own pianism and to improve his own technique. In fact, Chopin called this collection "Exercises" until he published it as "Étude". Incidentally, the commonly known titles, such as "Chanson de l'adieu" and "Winter Wind," were not given by Chopin himself, but were given later. It seems natural that the musical splendor of these pieces, which transcends the realm of "exercises," would have captured people's musical imagination, and that they were named out of sympathy for Chopin's life and for the man himself.

Etude Op.10

This work was dedicated to Franz Liszt (1811-1886), a composer and pianist of great popularity who was one year younger than Chopin, with the words "À SON AMI" (my friend). Chopin did not seem to have much sympathy for the composer Liszt, but he did admire the pianism of Liszt, who was acclaimed as one of the best pianists of his day. Liszt was very pleased with the dedication of the work and expressed his gratitude with a perfect performance.

Etude in C major Op.10-1 "Water fall" （Poetry Demo #25）
As the work is nicknamed "Water fall," the dynamic nature of the gorgeous right hand passages, which move up and down with propulsive force over the long-breathed bass line of the left hand, is very impressive. The right hand consistently arpeggiates up and down over four octaves, requiring independence and breadth of the right hand fingers, as well as flexibility and freedom of movement of the wrist and elbow. It is one of the most difficult pieces to play among the practice pieces.

Etude in E major Op.10-3 "Chanson de l'adieu" （Poetry Demo #01）
Not only is the melody of this all-too-famous song beautiful, but its harmony is also worthy of special mention. Chopin, listening to his pupil play it, said, "Never in my life have I written a more beautiful song." "Oh, my country! and exclaimed, "Oh, my country!

On the other hand, the performance technique requires the skill to play each voice part of polyphony (polyphonic music) and the technique to play heavy notes in the middle part, which is very difficult for both left and right hand players. As for the speed, it is interesting to note that Chopin's autograph score includes instructions for "Vivace and Vivace non troppo" (lively but not excessively so).

Etude in C Sharp minor Op.10-4 （Poetry Demo #26）
In the dramatic character of the C-sharp minor sound, the incessant sixteenth-note passages run with ever-changing note patterns. Technically, the piece requires the opening, closing, and grasping of the hands with instantaneous force of hand position as well as homogeneous graininess of the sixteenth notes as the note pattern changes. Sharp ticks and furious passages in chords and octaves create a more tense effect.

Etude in G Flat major Op.10-5 ”Black Keys" （Poetry Demo #20）
It is named "Black Keys" because the right hand is played with only black keys. The right hand, played with five black keys, may give a nostalgic oriental sound of minor pentatonic. The gorgeous passages in the right hand are impressive, but in fact, it could be called an exercise for the left hand, as it requires a high level of technique to play the melody line that emerges from the sequence of chords in the left accompaniment and to play it cantabile. The right hand is like a sparkling jewel on top of the supple and rich music of the left hand.

Etude in C minor Op.10-12 "Revolutionary" （Poetry Demo #21）
The Polish people, under the rule of the Russian Empire, staged an armed revolt on November 29, 1830 (The Cadet Revolution). However, they were defeated in September 1831 and Warsaw fell. Chopin received the news in Stuttgart, Germany, and is said to have composed the piece in a state of insanity.

Chopin left Warsaw with a passport issued by the Russian government just three weeks before the uprising broke out, and the news of the uprising must have shaken him to the core. His hopes for the restoration of his homeland were shattered, and this piece conveys the depths of his heart as he was plunged into the abyss. The theme with its intense dotted rhythm in the right hand seems to be a cry and appeal from Chopin's heart. The rapid unison descent at the end with a series of fff chords sounds as if it inspires Chopin himself, along with the cries of his heart.

Etude Op.25

It was dedicated to Countess Marie d'Agoult (1805-1876), a writer and journalist, who was Liszt's common-law wife at the time. Here, too, one can sense the respect paid to Liszt as a pianist. Most of the pieces were composed in Paris, and as Chopin, who began to attract attention as a salon pianist and piano teacher for upper-class women, loved to perform them at his own concerts, they were effective not only as teaching materials for learning performance techniques but also as small pieces to decorate concerts.

Etude in A Flat major Op.25-1 "Aeolian Harp" （Poetry Demo #27）
Chopin told his pupil about this piece, "Imagine a pastoral child quietly playing a beautiful melody on a flute in a cave sheltered from an approaching storm”, the piece is also called "The Pastoral Child"

The title comes from a review by composer Schumann Robert (1810-1856), who named the piece after the softly resonant dispersed chords of the inner voices, which remind one of an "Aeolian harp," the strings of which are played by the wind that blows naturally. The graceful melody that emerges from the delicacy of the music is outstanding.

Etude in E minor Op.25-5 （Poetry Demo #28）
The piece is composed of a somewhat melancholy yet lightly playful E minor dance and an E major middle section in which a melody appears in the left hand that sings with a rich mid-low range sound like a cello solo, creating a novel musical contrast.

Etude in G Flat major Op.25-9 "Butterfly" （Poetry Demo #29）
The light, up-and-down accompaniment of the left hand seems to represent a butterfly freely moving from flower to flower, and the quick octave spread of the right hand seems to represent the fluttering of wings. The right hand's octave sequence must be played lightly, while at the same time being expressed as polyphonic music.

Etude in A minor Op.25-11 "Winter Wind" （Poetry Demo #30）
After a quiet introduction with dotted dots that suggests "Funeral," the music quickly takes on the aspect of a raging storm. The left hand's dotted introduction changes from the solemnity of the first part to a dämonisch melody. The melody of the right hand, which is stretched in all directions, changes its expression dramatically as it repeatedly modulates.

Etude in C minor Op.25-12 "Ocean" （Poetry Demo #31）
Like Op10-12 "Revolutionary," it is said to have been composed in September 1831, in a state of rage and grief upon hearing the news of the fall of Warsaw by the Russian army.

The arpeggios, which seem to express an extreme state of mind, simultaneously depict a powerful and sublime atmosphere like the thunder of Zeus, and Chopin's proud spirit seems to be superimposed on the arpeggios. The final movement, C major, closes the concert in a glorious manner. This is a work that is truly worthy of being the last of the Op.10 and Op.25 collections.

The term "ballad" is used to describe one of the forms of poetry that flourished in medieval Europe in ancient times. Chopin's establishment of the ballad genre is said to have been greatly influenced by the existence of Adam Bernard Mickiewicz (1798-1855), Poland's national romantic poet, the ballad songs that were popular in the Warsaw area in the 1820s, and the ballad-like arias used in the grand opera in Paris. Chopin's instrumental works are said to have been greatly influenced by the ballad-like arias that were popular in the Warsaw area in the 1820s.

Chopin was the first composer to use the name "ballade" in an instrumental work. These ballad pieces are said to have been influenced by Mickiewicz's poetry because Chopin visited Schumann in Leipzig in 1836, and when Chopin played his unfinished Ballade No. 2, "he told me that he had taken inspiration from a certain poem by Mickiewicz." This is based on Schumann's testimony.

Ballade in G minor Op.23 （Poetry Demo #38）
It is said to have been inspired by the last episode of the fourth chapter of "Conrad Wallenrod," Mickiewicz's classic dramatic poem and historical novel consisting of six chapters. The seven-bar introduction is shockingly played in unison, though, The extremely simple sound is the Neapolitan sixth degree of the main key (a major triad with the root note a semitone above the main note, so named because it was a favorite of the Neapolitan school), which is followed by a development, it sounds as if it were covered by a veil, even as it hints at the grand and tragic story that is to unfold thereafter.

The music of the sorrowful first theme and the euphoric second theme float impressively, alternating between fragile, beautiful and intense musical ideas, and grandly depicting a story with an ups and downs sequence. The coda, which extends for about 50 bars, is a masterpiece.
 

---

The following is a summary of the fourth and final episode of "Conrad Wallenrod."
In the Middle Ages, Lithuania loses its independence after a defeat against the Crusaders, and Prince Conrad Wallenrod is taken prisoner. Raised by a Crusader commander as if he were his own son, he grows into a brave knight and successfully plots a campaign for the independence of his homeland, Lithuania. However, he is executed by the Crusaders as a traitor.
 

---

Ballade in F minor Op.52 （Poetry Demo #39）
Free sonata with variations, rondo form. It is said to be inspired by Mickiewicz's poem "Trzech Budrysów," but this is not certain. The work has a very introspective and poetic flavor, with a longing nostalgic feeling throughout the entire piece. After an emotionally rich seven-bar introduction, a quietly overflowing theme is presented, which is developed in a variation style, and then fluidly connected with a number of lyrical passages. However, as the variations on the theme grow in intensity, we can clearly follow the "story" behind the theme.

This work was written at the height of Chopin's relationship with his partner, George Sand (1804-1876), a writer known as a pioneer feminist. It is considered a masterpiece because it is the greatest expression of his genius in both compositional technique and pianism. However, the number of his works decreased after this period.
 

---

"Trzech Budrysów" - A Lithuanian Ballad" is outlined below.
Old Budrysów of Lithuania orders his three sons on expeditions to different lands. One to Russia to get silver coins and materials for good furs, one to Prussia to get amber and fine fabrics, and one to Poland. There they find a wonderful woman with nothing special but a saber and armor. After the departure of the three, one of their sons returns with a Polish bride. Then the second did the same. And on the return of the third son, the old Budrysów no longer asked any questions, but began to prepare for the third wedding.

The Polonaise, which translates from French as "Polish style," has a long history, dating back to 1574, when it was played by Henri III on his accession to the Polish throne. The polonaise rhythm (tantaka-tan-tan-tan) that we associate with the Polonaise took root in the early 18th century, with a gentle tempo of 3/4 time and graceful, noble steps that conveyed dignity, and was danced mainly in the courts of princes and noblemen.

In the first half of the 17th century, the dance attracted Europeans and became very popular, and was incorporated into the works of composers including Bach and Mozart. Chopin was born in Żelazowa Wola, a suburb of Warsaw, where he became familiar with the mazurkas danced by the villagers, while his early life in Warsaw was marked by his familiarity with the polonaises of the noble houses and courts he frequented.

Chopin composed his first piano piece, "Polonaise in G minor," when he was only seven years old. Over time, it became a medium for expressing his Polish identity.

Polonaise in A major Op.40-1 "Militaire" （Poetry Demo #22）
Chopin lived in the midst of Poland's troubled history, from the Third Partition of Poland in 1795 to the Cadet Revolution in Warsaw in 1830 and its defeat the following year. He was always wishing for the revival of his country, and was a prominent figure in the social circles of foreign high society, so composing and performing the Polonaise must have been an important way for him to send a strong message to the world and express his own identity. The piece, often known as the "Military Polonaise," is characterized by its clarity and scale. When it was published, it was dedicated to Fontana, who joined The Cadet Revolution of 1830, with the words "my friends," which I believe is a tribute to his friends.

Polonaise in A Flat major Op.53 "Héroïque" （Poetry Demo #23）
The title "Héroïque" was probably given later by his pupils. After a strong and inspiring 16-bar introduction, the main theme, which is both noble and solemn, is a truly moving moment that reflects the proud image of Chopin. The middle section, which begins in the key of E major, is a heroic theme with an octave ostinato in the left hand (the same note pattern repeated over and over relentlessly). The music reaches its climax with a heroic theme played with the left hand's octave ostinato (the same note pattern repeated over and over again). The coda (conclusion) is even more brilliant and concludes with a powerful polonaise rhythm.

Polonaise in G minor KK.IIa-1 (Op.posth) （Poetry Demo #42）
It is Chopin's first extant work, composed when he was only seven years old. It is designated "Op. posth" on the grounds that it was published in a narrow circle at the time and was lost for a long time afterward. The simplicity of the work is surprising in that it reveals not only Chopin's own musicality, which he would later establish, but also a glimpse of his pianism.

In Vienna, where Chopin spent eight months before leaving Poland for Paris, the waltzes of Strauss I were popular and well-liked. In a letter to his family, Chopin wrote: "...the Viennese people were not happy with Strauss and his music.

He wrote to his family: "...the Viennese dance the Strauss and Lanner waltzes around dinner time, and they dance with great gusto to each tune. And they give a big bravo to each piece. It's a testament to the depraved taste of the Viennese audience. ..."

Based on this musical experience, Chopin established his own unique music in the genre of the waltz by combining his aristocratic taste and his own pianism, and left behind 19 pieces of music.

Waltz in E Flat major Op.18 ”Grand Valse Brillante” （Poetry Demo #12）
This is a memorable first published waltz for Chopin, who had already become a leading figure in Parisian high society. It was highly acclaimed by the "Gazette Musicale de Paris" (Paris Music Newspaper) as soon as it was published, and became very popular. The waltz opens with a fanfare, followed by seven graceful and elegant musical themes. It is a work worthy of the name ”Grand Valse Brillante”.

Waltz in A Flat major Op.34-1 ”Valse Brillante” （Poetry Demo #13）
Chopin was reunited with his parents in the Czech Republic that summer, who had remained separated since leaving Warsaw. Chopin composed this piece when he was invited by the Thun-Hohenstein family, a Bohemian aristocrat, on his way to see them off after spending three weeks together in Karlovy Vary (a spa resort in western Bohemia, Czech Republic). The opulent music of the five musical ideas seems to convey Chopin's sense of happiness at that time.

Waltz in F major Op.34-3 "Valse Brillante" （Poetry Demo #15）
It is said that the lovely and lively waltz nicknamed "du chat" may have been inspired by a kitten running around on a piano keyboard. The humorous, rapid, imperturbable passages and the quick, light, leaping plucking of the fore-strikes give the impression of a mischievous cat and Chopin's gentle gaze as he watches over the cat.

Waltz in D Flat major Op.64-1 "Petit chien" （Poetry Demo #02）
The sound pattern revolving around the A-Flat Sound and the unimpeded motion of the tune evoke the image of a puppy chasing its tail and spinning around, which makes me smile. It makes me smile. Chopin was a dog lover, and he loved two puppies named "Marquis" and "Dib" that George Sand had at that time. This song is said to be an expression of Marquis.

Waltz in C minor Op.64-2 （Poetry Demo #14）
This waltz is truly the culmination of Chopin's unique compositional techniques. At the beginning, the mazurka is played over the waltz rhythm in the left hand. It is a work that stands out for its fragile and ever-changing beauty. Together with "Valse du petit chien," it was one of the last works to be published before his death.

Waltz in A Flat major Op.69-1 "L'adieu" (Op.posth) （Poetry Demo #16）
This work was published posthumously after Chopin's death, 18 years after it was composed. Chopin spent two weeks in Dresden during his travels, visiting the Wodzinska family, a Polish aristocrat who had been a family friend of the Chopins during their Polish period. It is said that Chopin wrote this waltz when he had a faint infatuation with the daughter Maria.

Chopin later proposed to Maria, but the marriage was almost consummated before the promise was broken. The reason why it is called "Farewell" is because Maria herself wrote "Farewell" (L'Adieu) on the score of this piece, and it is said that she later named it "Farewell Waltz" and played it fondly.

Waltz in B minor Op.69-2 (Op.posth) （Poetry Demo #17）
This work was composed when Chopin was around 19 years old. Mazurka-style ideas that appear in the waltz are perhaps a natural outpouring of the mazurkas that were so familiar to Chopin. Or was it a deliberate attempt to combine the waltz and the mazurka? Either way, the contrast between the impressive main part, with its mournful, quietly spoken curves, and the middle part, with its joyful Mazur elements, makes this a beautiful piece.

Waltz in E minor KK.IVa-15 (Op.posth) （Poetry Demo #18）
This is a unique work that stands out for its effervescent passion and rhythm among the lyrical and melancholic minor-key waltz pieces. While the main part is a masterpiece of brilliant piano technique, the middle part in E major is a flowing melody. The coda (conclusion), which runs through the piece with great power, is a masterpiece.

Waltz in A minor KK.IVb-11 (Op.posth) （Poetry Demo #19）
This is a supremely simple piece. The beautiful melody played over the unobtrusive accompaniment of the left hand seems to convey the fleeting nature of the melody as it plays and then fades away, as well as Chopin's own confession.

Barcarolle in F Sharp major Op.60 （Poetry Demo #43）
It is truly one of Chopin's greatest works. Is there any other work so full of light, color, and love? However, behind the composition was actually Chopin's deep sense of loneliness due to his separation from Sand, and his deteriorating health that made him conscious of his mortality. This was three years before the end of his life.

The Barcarolle was originally an imitation of the form of the song of the gondoliers in Venice. The left hand accompaniment, reminiscent of the calm surface of the water, leads to a graceful two-part love duet, which is eventually transformed into an improvisation with advanced technique. Delicate harmonic changes and exquisite modulations create a rich sense of color, and the counterpoint technique (see above) adds depth to the music. A thoughtful, quiet coda concludes with a glorious ff.

Berceuse in D Flat major Op.57
In the first draft, the title was apparently written as "Variantes," but it was revised the following year at George Sand's villa in Nohant after a trial performance by Chopin himself. The work is simple, yet full of the inspiration of Chopin's late golden age. It is a work that gives one the pleasure of reliving the sensation of the keys that Chopin's fingertips used to touch.

Fantaisie-Impromptu in C Sharp minor Op.66 （Poetry Demo #03）
It is a well-known story that Chopin was such a perfectionist that he told his family and pupils to destroy all works that did not have a work number.

For some reason, however, this piece was never published during his lifetime. After Chopin's death, it was published by his one and only friend from his student days, Fontana, who was also a composer himself." The title "Fantasie Impromptu" is attributed to Fontana. Although it is not known why it was not published during his lifetime, it is one of the most popular of Chopin's works.

The piece consists of a main part in which a gorgeous pattern of notes is played in different rhythms, a middle part in which a sweet and gentle melody in D-flat major is sung, a reprise of the main part, and finally a quiet closing with a recollection of the theme of the middle part.

In the winter of 1938, Sand left Paris with his children, including Chopin, who was not feeling well, and Sand's son Maurice, who suffered from rheumatism, and spent time on the warm Mediterranean island of Majorca. The 24 Preludes, Op.28, were completed during their stay in Majorca. The 24 preludes go from C major, to A minor, to G major, to E minor, and so on, climbing up the major key and its parallel key by 5 degree circles, going around the entire key range. It is said that the inspiration for this idea came from the only sheet music he brought with him to Majorca, the "Das Wohltemperirte Clavier," which consists of 24 preludes and fugues in both Volumes I and II. Again, it is clear that Chopin drew much of his inspiration from Bach's works.

Prelude in C major Op.28-1 （Poetry Demo #06）
The first piece, which feels like "Ode an Bach," is reminiscent of the C major Prelude from the first volume of "Das Wohltemperirte Clavier," and seems to convey Chopin's respect for Bach. The beautiful sound of the polyphony is fascinating.

Prelude in E minor Op.28-4 （Poetry Demo #07）
The left hand depicts a chromatic descending progression that evokes sadness and tears, punctuated with chords. The melody of the right hand seems to exude the sorrowful thoughts of the heart. This piece was played by the organ at the Madeleine Temple in Paris on the occasion of Chopin's funeral.

Prelude in B minor Op.28-6 （Poetry Demo #08）
The melodic sound of the left hand, filled with sorrow, is reminiscent of Chopin's beloved cello. The eighth-note ostinato in the right hand and the quarter-note punctuation on each beat remind us of a funeral procession that proceeds solemnly step by step. Like No. 4, it was played on the organ at Chopin's funeral.

Prelude in A major Op.28-7 （Poetry Demo #09）
Andantino (slightly faster than andante)
This music has the noble sound of a chorale and the elements of a Mazur dance at the same time. Although it is simple and only 16 bars long, the melody is not only beautiful, but the harmony is also outstanding.

Prelude in D Flat major Op.28-15 "Raindrop" （Poetry Demo #10）
It is called "Raindrop" and is well-known as such. The reason for this is said to be due to the famous episode in Sand's "Histoire de ma vie" in which "Chopin was playing a wonderful prelude amidst the sound of raindrops on the roof, shedding tears...". The island of Majorca, where he visited to recuperate, was not the environment he had expected, and he spent rainy days there. The series of eighth-note notes that pervade the work in the right hand recalls the very sound of rain. In the middle section, the music expands and eventually explodes with emotion as it modulates from A-Flat Sound to G-sharp in enharmonic (heterophonic) form. The music expands and eventually explodes with emotion. Later, the music recurs to a calm tone and disappears, which seems to represent Chopin's chaotic state of mind, as if he was going back and forth between reality and unreality.

Prelude in B Flat minor Op.28-16 （Poetry Demo #32）
From the introduction of a series of violent chords that seem to tear apart the space, the rapid passage of the right hand rushes through with the powerful ticking of the left hand, increasing its energy like a storm. This is a piece that will make you rediscover the magma-like energy latent in Chopin's mind from the uncanny music that seems to be driven by something. 　

Prelude in D minor Op.28-24 （Poetry Demo #33）
Allegro appassionato (fast and passionate)
When one finishes listening to this piece, placed at the end of all 24 Preludes, one is often stunned by the spectacular drama and the hopeless conclusion. The intense and mournful cry of the right hand melody is heard, and the epic drama finally comes to an end with a shocking fff on the lowest note of the main D minor key, and three times with a single note. It is as if we are being plunged into an unfathomable abyss.

Chopin wrote three piano sonatas during his lifetime. Although Chopin learned compositional techniques from classical works at an early age, the strict sonata form may have been a bit constricting for him. Compared to No. 1, No. 2 and No. 3, which were written in a freer style, are more original and are unquestionably outstanding among Chopin's works.

Sonate II in B minor Op.35-3 （Poetry Demo #44）
The heavy dotted rhythm evokes the quiet and solemn steps of a funeral procession. The middle part, in which the melody is sung calmly, as if surrounded by gentle light, is filled with a sublimity that seems to rise endlessly to the heavens. The contrast between the two musical moods accentuates the pathos of the music.

Sonate III

At this time, Chopin was in poor health due to worsening tuberculosis, and in the spring of 1844, his father Mikołaj died, and he was having a difficult time. It was during this time that he was reunited with his sister Ludwika for the first time in 14 years. This was arranged by Sand, who was worried about Chopin's condition. Chopin regained his zest for life and wrote the largest, most classical, and most profound of his works.

Sonate III in B minor Op.58-1 （Poetry Demo #45）
It opens with a descending first theme that vividly declares something.

Sonate III in B minor Op.58-2 （Poetry Demo #46）
The contrast between the scherzo theme, which runs in all directions at a dizzying pace as if searching for some place of stability, and the calm, full polyphony of the trio is fascinating.

Sonate III in B minor Op.58-3 （Poetry Demo #47）
The last E-flat note of the second movement is succeeded by an enharmonic (heterophonic double sharp), and after a solemn introduction in G-sharp minor with a sense of tension, the piece modulates to B major as if a soft light is rising before a gentle and beautiful cantabile theme melody is played. In the middle section in E major, polyphony appears with harp-like arpeggios. It is dreamy and beautiful with a hint of melancholy.

Sonate III in B minor Op.58-4 （Poetry Demo #48）
After a tense and profound introduction with chromatic ascending lines, the rondo theme appears with a fervor that seems to be seized with feverish intensity. The rondo theme gradually expands and becomes more gorgeous with increasing volume as the piece progresses, interspersed with an impressive second thought with a brilliant right hand passage. After the B major coda, the magnificent story ends with the glorious victory bells ringing out in high spirits.

Largo in E Flat major KK.IVb-5（Poetry Demo #50）
One of Chopin's last works, discovered and published in Paris in 1938 after his death, is a chorale-like work in which Chopin added harmony to the melody of the chant "Boże, coś Polskę (God save Poland)".

Scherzo in B Flat minor Op.31 （Poetry Demo #24）
It is the most widely known and familiar of the four Scherzo pieces. It opens with a whispering triplet motive of two very contrasting motives and a first theme of suddenly exploding ff chords.

According to Chopin's student Lenz, Chopin said of this opening during a lesson, "It has to be a question. ... It also has to have the atmosphere of a hall of the dead." Chopin said. But then, the bright and exhilarating mood of the D-flat major theme unfolds in a Scherzo (humorous, playful) manner.

After the second theme is gracefully sung over the light arpeggio of the left hand in G-flat major, the middle section is a truly varied musical experience. The music shifts from a meditative chorale in A major with a recitative (a speaking solo), to an aria-style melody in C-sharp minor, to a light coloratura-style passage in E major, and in the latter half, various motives appear one after another as a torrent, just like in an opera, and the development is enthralling. After a recapitulation of the main part and a fast-moving coda, the story finally comes to an end with the glorious chords of D-flat major ringing out in high spirits.