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| 1. Nocturne in C-Sharp minor (1830) |
| 2. Nocturne in E minor, Op. 72, No. 1 |
| 3. Nocturne in C minor, Op. 48, No. 1 |
| 4. Ballade No. 2 in F Major, Op. 38 |
| 5. Ballade No. 1 in G minor, Op. 23 |
| 6. Waltz No. 3 in A minor, Op. 34, No. 2 |
| 7. Prilude in E minor, Op. 28, No. 4 |
| 8. Grande Polonaise for Piano and Orchestra (preceded by an Andante Spianato), Op. 22 |
| 9. Andante spianato in G Major |
| 10. Grande Polonaise in E-flat Major |
| 11. Moving to the Ghetto Oct. 31, 1940 |
| 12. Mazurka in A minor, Op. 17, No. 4 |
I love Nocturne in C-sharp Minor best. After I did read the book, this melody becomes more impressive, because it was the melody that Szpilman played for Captain Hosenfeld in ruined Warsaw.
I am surprised to know that it is Ballade No.1 in G Minor that Szpilman played for Hosenfeld in the movie. I won't say Ballade No.1 not good, but I wonder why the change.
Because Wladislaw Szpillman was a Pole (Chopin was half-Polish), it seems only fitting that Chopin's music was the backbone of the movie. Having grown up in Warsaw, Chopin left it in his early 20s for political reasons. Szpillman chose to stay in Warsaw, despite the growing threat of dangers caused by the Nazi regime of World War II.
Anyone who has seen the movie "The Pianist" can tell you that Szpillman's love of music was deeply entertwined with his passion to stay alive despite the odds. The film is not heavy on dialogue, largely because Szpillman is in isolation much of the time. The music speaks for him, sharing his loneliness, his longing, his memory of past joys and his love of country and family.
Kilar's interpretation of these works is emotional, passionate and heart-felt. He doesn't resort to a paint by numbers style of playing, hacking through the notes. He brings a skillful hand to their difficulty but also reflects the feelings inherent in the melodies and cadences. Every time I listen to it, I feel as if I am on an emotional journey of highs, lows and beautiful reverie.
And it is a journey I savor frequently.
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