by Reginald Goss-Custard

Relayed from Bishopsgate Institute

Domenico Scarlatti's bright and vigorous short pieces were written before the times of the modern four-movement Sonata. In his day 'Sonata' was a term applied to an instrumental piece, as distinct from a 'Cantata,' or vocal piece. Scarlatti, born in the same year as Handel, met his contemporary at Venice, and became his close friend and admirer. The two competed at Rome in keyboard performance. As Harpsichordists they tied, but on the Organ Handel was declared the finer player.

From childhood upwards Chopin loved the tunes that he heard sung and played around his Polish home, and perhaps even more he loved the folk-dances. More than a quarter of his compositions bear titles which indicate their origin in dance rhythms and dance forms.
The Mazurka is one type of piece in which Chopin most clearly shows his affection for the native dances of his country. As he treats the dance, it shows us the folk-spirit sublimated, idealised. The peasant has come to town. He retains all the vigorous directness of his origin, but combines with it a high degree of refinement, and sometimes a tinge of unexpected emotion.
The Waltz, though it bears so late an Opus number, was actually an early piece, written when Chopin was nineteen, and not published until after his death.