Chasing Chopin - Reading Together - Chapter 7

Welcome to the seventh post discussing Chasing Chopin by Annik LaFarge.

In Chapter 7, LaFarge delivers a deep dive into the centerpiece of her book: the third movement of the Piano Sonata No. 2 in B-flat minor, Op. 35. LaFarge untangles how this ubiquitous dirge, recognizable even to those unfamiliar with classical music, has been fundamentally misunderstood since its 1840 publication. She examines the work's historical, political, and emotional weight, contrasting its famous, heavy opening with the lyrical, major-key trio at its center. Ultimately, LaFarge strips away centuries of caricature to reveal a fresh, deeply tragic masterpiece.

Annik LaFarge has an extensive website that includes links and resources for each chapter. I highly encourage you to check it out, especially if you are looking for ideas on how to connect this book to teaching ideas for your studio or classroom.

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I've published five piano music books and one guitar music book. Get them here.
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Chasing Chopin - Reading Together - Chapter 6

Welcome to the sixth post discussing Chasing Chopin by Annik LaFarge.

In Chapter 6, LaFarge examines the complex textual history and physical transmission of Frédéric Chopin’s scores. Because Chopin frequently improvised during performances and made ongoing alterations to his manuscripts, his pieces often evolved across multiple simultaneous editions published in France, England, and Germany. LaFarge traces the archival journey of these conflicting musical texts, highlighting the detective work modern scholars and performers must undertake to find the composer's true intent. She reveals that Chopin's music was never fixed or static, but rather a living, breathing entity.

Annik LaFarge has an extensive website that includes links and resources for each chapter. I highly encourage you to check it out, especially if you are looking for ideas on how to connect this book to teaching ideas for your studio or classroom.

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I've published five piano music books and one guitar music book. Get them here.
Sign up here for my free monthly newsletter! Connect with me on Instagram and Pinterest.

Chasing Chopin - Reading Together - Chapter 5

Welcome to the fifth post discussing Chasing Chopin by Annik LaFarge.

In Chapter 5, LaFarge explores Frédéric Chopin's profound, lifelong reverence for Johann Sebastian Bach. Centered around his winter stay in Majorca with George Sand, the chapter details how Chopin prepared for composing his iconic Preludes, Op. 28 by immersing himself in Bach’s The Well-Tempered Clavier. Rather than a conservative exercise, studying Bach was an act of radical inspiration for Chopin, shaping his architectural understanding of counterpoint and miniature forms. LaFarge reframes Chopin not as an isolated, delicate Romantic, but as an artist deeply anchored in mathematical precision and classical lineage.

Annik LaFarge has an extensive website that includes links and resources for each chapter. I highly encourage you to check it out, especially if you are looking for ideas on how to connect this book to teaching ideas for your studio or classroom.

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I've published five piano music books and one guitar music book. Get them here.
Sign up here for my free monthly newsletter! Connect with me on Instagram and Pinterest.

Chasing Chopin - Reading Together - Chapter 4

Welcome to the fourth post discussing Chasing Chopin by Annik LaFarge.

In Chapter 4, LaFarge investigates the complicated and often dark cultural and personal relationships that surrounded Frédéric Chopin during his European exile. The chapter's evocative title nods to the complex social dynamics and intense, sometimes draining personalities in Chopin's immediate circle, including figures like Astolphe de Custine and George Sand. LaFarge examines how these volatile personal relationships and the deep psychological anxieties of exile influenced his creative output. Specifically, she connects these emotional undercurrents to pieces composed during this period, such as the stirring Polonaise in A major, Op. 40, No. 1.

Annik LaFarge has an extensive website that includes links and resources for each chapter. I highly encourage you to check it out, especially if you are looking for ideas on how to connect this book to teaching ideas for your studio or classroom.

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I've published five piano music books and one guitar music book. Get them here.
Sign up here for my free monthly newsletter! Connect with me on Instagram and Pinterest.

Chasing Chopin - Reading Together - Chapter 3

Welcome to the third post discussing Chasing Chopin by Annik LaFarge.

In this third chapter, LaFarge shifts her focus to Frédéric Chopin's revolutionary approach to piano pedagogy. Unlike the rigid, drill-heavy instructors of his era, Chopin treated teaching as an extension of his art, emphasizing flexibility, natural hand positions, and psychological ease. LaFarge highlights his profound connection to Italian bel canto opera, particularly the vocal lyricism of Vincenzo Bellini. Chopin explicitly urged his pupils to study the phrasing and breath control of great singers, famously declaring that the piano must sing. By fostering a gentle, supportive environment, he unlocked intuitive artistry rather than mechanical precision.

Annik LaFarge has an extensive website that includes links and resources for each chapter. I highly encourage you to check it out, especially if you are looking for ideas on how to connect this book to teaching ideas for your studio or classroom.

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I've published five piano music books and one guitar music book. Get them here.
Sign up here for my free monthly newsletter! Connect with me on Instagram and Pinterest.