Chopin, Rondo for Two Pianos in C major, Op.posth.73 (Samson François + Pierre Barbizet)

Frédéric Chopin's Rondo for Two Pianos in C major, Op.posth.73, with synchronized sheet music (score) and a theme-and-structure analysis..
Performance: Samson François (piano), Pierre Barbizet (piano), 1966/12/13 Stereo, Salle Wagram, Paris
Analysis, Score Editing, Synch: ScoreMan

00:00 Intro
00:49 A
01:43 B
02:36 C
04:22 A
05:47 B
06:40 C
08:11 A
08:32 Coda


OVERVIEW

The Rondo in C major for two pianos, Op.73 is one of Chopin’s earliest published works, composed in 1828 when he was only 18 years old.
At that time, Chopin was studying at the Warsaw Conservatory under Józef Elsner, and this piece shows both his solid training in classical forms and his youthful brilliance at the keyboard.
It is written in a bright, virtuosic style, structured as a concertante rondo—an energetic form that alternates a principal refrain with contrasting episodes.
The two pianos engage in a lively dialogue, often echoing or interweaving each other’s lines, creating a rich and festive sonority.

HISTORICAL CONTEXT

Chopin first composed the piece in 1828 for solo piano as Rondo à la Mazur in F major (Op.5), but shortly after, he wrote this separate two-piano version in C major (Op.73) to suit salon performance culture.
At this stage, Chopin was not yet the composer of deep, poetic nocturnes and ballades we now associate with him.
Instead, he was exploring forms popular with the aristocratic circles of Warsaw, writing works that were brilliant, entertaining, and suitable for young virtuosos to perform in social settings.
Although the Rondo Op.73 was not published until posthumously in 1855, it reflects Chopin’s early development and charm before his mature masterpieces.

MUSICAL SIGNIFICANCE

Virtuosic Brilliance – The writing sparkles with fast runs, playful passagework, and alternating exchanges between the two pianists. It is closer in style to Hummel or early Weber than to the introspective Chopin of the later 1830s.
Classical Influence – The piece adheres to the clear rondo form, showing Chopin’s command of traditional structures taught at the conservatory. Unlike his later works, which often transformed or expanded classical models, here he still works within them.
Dance-like Spirit – Despite being labeled a “Rondo,” the character often resembles a lively dance, with buoyant rhythms and light textures. This already foreshadows Chopin’s lifelong connection to Polish dance idioms.
Performance Appeal – For two pianists, it remains an engaging and joyful piece, offering opportunities for both technical brilliance and musical interplay. While not as frequently performed as his solo works, it holds a special place in the two-piano repertoire.



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