Classical Works Inspired by Rain

‘I love all films that start with rain…’ writes the poet Don Paterson. But how has rain been rendered in music? Is the mood of a rainy day necessarily melancholic and disappointing or can the rhythm of a good downpour suggest something joyful or cathartic? Here are examples of how rain has been made in music. 

Chopin: Prelude Op. 28, No. 15 – ‘Raindrop Prelude’

A sudden rain shower can create both distance and intimacy. It can often induce a meditative or dream-like mood in the adult, or for the child who cannot go out to play. It is thought Chopin’s ‘Raindrop Prelude’ was indeed inspired by a dream, according to his partner George Sand’s account of the moment of composition.

In her autobiography, Sand writes that: ‘He saw himself drowned in a lake – heavy, icy drops of water falling rhythmically on his chest - and when I had him listen to the drops of water falling rhythmically on the roof, he denied having heard it. He was even angry at what I translated by the expression ‘imitative harmony.’’ 

This story is part of the mythology that surrounds the magic of this intimate, introspective piece.



Britten, Noye’s Fludde

Britten’s opera for children, Noye’s Fludde, depicts the dramatic story of Noah’s Ark. The sound of the first drops of this epic deluge is actually made and inspired by domestic objects: the china mug and the wooden spoon. 

Britten’s assistant, Imogen Holst, recalls her own involvement in this moment of experimental composition shared with Britten: ‘I had once to teach Women’s Institute percussion groups during a wartime ‘social half hour’, so I was able to take him into my kitchen and show him how a row of china mugs hanging on a length of string could be hit with a large wooden spoon.’



Debussy Estampes, ‘Jardins sous la pluie’

‘Jardins sous la pluie’ or ‘Gardens in the Rain’ is from Debussy’s Estampes for solo piano. It evokes the light and colour of a spring shower through its trembling, fluid and slightly frenetic sound. It also seems to capture the delicate quality of each raindrop through this rapidity of notes.

Pianist Stephen Hough writes that ‘Debussy’s discovery of new sounds at the piano is directly related to the physiology of hands on keyboard.’ As we are transported by the intense mood of rain communicated in this piece, we are also experiencing the physicality of the piano and the movement of fingers in a new way.



Judith Weir, The Welcome Arrival of Rain

Rain in this piece is a response to the monsoon rains returning in India, and is inspired by an extract of verse from the Hindu text, Bhagavata Purana. The piece captures the sense of sudden rain, its syncopating rhythmic energy, and the change, renewal and growth it brings. 

It also becomes a metaphor for the process of creativity itself, as Weir describes: ‘Whilst I composed it, as the notes and the pages multiplied, I began to think of a comparison with the arrival of the monsoon in India, when aridity is pierced by life-giving rain; and humans, animals and vegetation revel in sudden activity and fertility.’


 John Luther Adams, In the Rain

How does rain sound? In the Rain investigates and experiments with how we hear its changing rhythms. Adams encourages us to attend to the sonic expression of the natural world, as well how the rain encounters and catches on objects and surfaces. There is a numinous, otherworldly quality to this work.


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The Composer and his muse: Chopin and Maria Wodziński

Maria Wodzinska was a dark-eyed Polish beauty. She sang, painted watercolors, and played Chopin’s Ballades on the piano. And they were old family friends: “I used to chase her through the rooms at Pszenny in days gone by,” wrote Chopin; Maria’s older sister recalled, “Of all the boys he was the most willing to joke and play.

On the way back from Paris, Chopin met Maria Wodziński, daughter of his parents' friends. 

Frédéric Chopin knew the Wodzinsky family since childhood, and in the summer of 1835 he was invited to Dresden to spend a short time with them There he met Maria again, the youngest daughter. He remembered her as a child who used to annoy the grown-ups by pulling faces at them or rowdily running around. Now, she was a beautiful girl of sixteen who liked painting and played the piano. Frédéric, who had already turned twenty-five, reciprocated the hospitality by giving piano lessons to Maria every afternoon.

Chopin's Nocturne in E Flat

The maestro asked the young girl to have her music book at hand on the piano, in order to write down any musical ideas that would arise at any time.

A page of this book is shown in the picture: a sketch of the Nocturne in E flat, opus 9 No 2, in its early stages. Obviously, it is just a germ of an idea: barely three bars of the melody. Frédéric will add later the accompaniment making it possible that these scrawled and hard-to-read signs could sound like this. Here we have, in four minutes, the most popular romantic piece for piano of all times.

Maria was the recipient of Chopin's Waltz Brilliant (op. 18) in 1834. She also painted the composer, creating what Tad Szulc called "one of the best portraits of Chopin extant—after that by Delacroix—with the composer looking relaxed, pensive, and at peace".

When Chopin was 25 and Maria was 16, the girl next door had become the living embodiment of the land he’d left behind. He was lonely, homesick, and living in Paris. She was wealthy, beautiful, and thoroughly and delightfully Polish. Chopin could stand it no longer. Visiting her family on holiday in 1836, Chopin made his first – and only – proposal of marriage. “At the Twilight Hour,” snippily noted Teresea Wodzinska.

Maria was thrilled; Mom and Dad weren’t so sure. There was the matter of Chopin’s ever-fragile health. And his whirlwind social life. And his suspect status as a composer. The Wodzinskas made a counter-offer: A one-year waiting period to see if Chopin’s health, fortunes, and habits would improve. Hence the warnings, buried in motherly advice.

But it was not to be. Chopin’s life only got messier, once George Sand entered the picture. The following summer, Chopin receives a “Dear Fryderyk” letter from Maria Wodzinska. He wraps Marie’s correspondence and the rejection letter in a bundle and labels it My Sorrow. And writes this “Farewell” Waltz in A-flat major, inscribed “To Mademoiselle Maria.”  (read more)

 

Wodzińska's nephew Antoni—not to be confused with his father, Maria's brother Antoni, who was a boarder in the Chopin home during Chopin's childhood and lived in Paris when Chopin was there—wrote a book detailing Chopin's relationship with her: Les trois romans de Frédéric Chopin, published in 1886.

Frederick Niecks, Chopin's first exhaustive biographer, said the book was "more of the nature of a novel than of a biography". In 1912 he wrote a biography of his aunt, O Marii Wodzińskiej (About Maria Wodzińska), whose first book edition was published in 2015.

Krystian Zimerman Plays Chopin Ballade No. 2

Rubinstein chopin ballade No.1 Op 23 G minor

Yoav Levanon (7) at Carnegie - Impromptu in A flat major, Op.29, Chopin

Chopin Waltz in C sharp Minor, Op.64 No.2 played by Vladimir Horowitz.

Polonaise in A-flat major, Op. 53 - Frédéric Chopin - Vladimir Horowitz

Vladimir Horowitz At Carnegie Hall Playing Chopin First Ballade in g minor

Valentina Lisitsa ( Chopin 24 Etudes DVD track) Op. 10 No. 4

Listen to More at Valentina Lisitsa Channel

Valentina Lisitsa (Chopin 24 Etudes DVD track)Op. 25 No. 12

With her multi-faceted playing described as "dazzling", Valentina Lisitsa is at ease in a vast repertoire ranging from Bach and Mozart to Shostakovich and Bernstein. Her orchestral repertoire alone includes more than forty concerti. She admits to having a special affinity for the music of Rachmaninoff and Beethoven and continues to add to her vast repertoire each season.

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Martha Argerich play Chopin "Polonaise N°6 l'heroique"

Sviatoslav Richter Plays Chopin's Etude Op 10 No 4

... was a Soviet pianist well known for the depth of his interpretations, virtuoso technique, and vast repertoire. He is widely considered one of the greatest pianists of the 20th century.