Frédéric Chopin's Signature Lullaby "Berceuse"

Literally, ‘Berceuse’ is translated as ‘lullaby’, or ‘cradle song’ and, to be honest, I would have been the happiest kid if such a lullaby had been played to me as a baby!

Frédéric Chopin had initially been planning to name the work “Variations” as it does consists of variations played in D-major flat. The title was changed to the present-day “Berceuse” at the moment of the piece’s publication in 1844. It was published by J. Meissonnier of Paris and officially dedicated to the lady Elise Gavard who was Chopin’s loyal pupil and admirer of his talent.

It was Chopin who elevated the specific genre of the cradle-song to an entirely new level. The simple harmony ornamented with 14 beautiful accompaniments make Berceuse a wonderful work of art, charming and elegant. Many composers including Franz Liszt later took it as a guide in this form of art song.

One of my favourite interpretations of this magnificent piece of music is the performance by the Brazilian pianist Guiomar Novaes who was among the best musicians of the 20th century.

The DA-DA-DA-DAH Symphony

Perhaps in all of the classical music ever written there is hardly a combination of notes more widely-recognized than the four famous ‘da-da-da-daah’ notes everyone’s ear has heard at least once in their lives. Maybe not everyone would name the title of the work at once, maybe not even the composer of the work, but the pattern is popular far outside the musical circle. Let’s re-live Beethoven’s Symphony No. 5!

Premiered in 1808 in Vienna, the symphony was greatly criticized: the size of the orchestra needed to perform the complex work was too big compared to the ‘norms’ and the symphony appeared very under-rehearsed by its debut. However, Beethoven’s composition genius could not but shine through these drawbacks and the public eventually could not remain indifferent charmed by the impressive scale of the Fifth.

As Schindler described the work, its first sounds were just like “death knocking upon the door”. And indeed, Beethoven’s Fifth was the symbol of victory at the time of World War II, hence the saying ‘V for Victory’. The Roman ‘V’ became a lucky and symbolically powerful coincidence with the symphony’s serial number.

The ”fate motif” excerpt (famous initial pattern) from the symphony in Beethoven’s favorite ‘heroic’ tonality – the key of C minor – was used in all possible spheres of human life, from pop culture, commercials and disco/rock covers to important social projects and events.

Below is a very entertaining vision of the Symphony No. 5 from the point of view of a ‘commentator’. The authors tried to elaborate the work just like a sport event so that the listener was aware of what is going on. Have fun!