Chopin may have first dabbled in the world of Impromptus in 1834, but it wasn't until six years after his death that his "Fantaisie Impromptu" hit the streets (and eventually inspired the Tin Pan Alley classic "I'm Always Chasing Rainbows"). His earliest published Impromptu was in A-flat Major, written in 1837, the same year he met the one and only George Sand. Dedicated to Countess de Lobau, one of his fancy-pants pupils, it was published in December.

Fast forward to the summer of 1838, and Chopin's health was in serious decline. In a move that would make anyone question his judgement, he decided to spend the damp Parisian winter on the sunny, fresh-aired island of Majorca (which his friends, who had never been there, assured him was delightful). Spoiler alert: it was not delightful. Terrible weather, shabby accommodations, and a distinct lack of a piano meant that by the time he was diagnosed with TB, things were looking pretty grim. But a piano finally arrived from Paris, and by the end of December, Chopin was well enough to start composing again.

The Impromptu No. 2 in F-sharp Major, which was sketched during his unfortunate stay with George on Majorca and completed at her country house in Nohant, has the chill vibes of a nocturne. The opening section has two contrasting melodies, and the central episode is all about a more assertive theme with a dotted-rhythm ostinato in the bass. The big surprise comes at the end, when the opening phrase returns in the unexpected key of F Major, delaying the reappearance of the second theme with some sweeping figurations in the right hand.

Live from the National Concert Hall in Dublin, Ireland, 11th October, 2010. Please comment and share!

Piano: Hamburg Steinway D
Piano Technician: Paul Wade
Recording Engineer: Darby Carroll

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Frédéric Chopin Impromptu no. 2 in F sharp major, op. 36

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..𓂃..𝓜𝓪𝓼𝓽𝓮𝓻 𝓟𝓮𝓪𝓬𝓮, 𝓜𝓪𝓼𝓽𝓮𝓻𝓹𝓲𝓮𝓬𝓮..𓂃..

𝓢𝓸𝓶𝓮 𝓼𝓲𝓵𝓮𝓷𝓬𝓮𝓼 𝓪𝓻𝓮𝓷'𝓽 𝓮𝓶𝓹𝓽𝔂, 𝓽𝓱𝓮𝔂'𝓻𝓮 𝓼𝓪𝓬𝓻𝓮𝓭. 𝓔𝓺𝓾𝓪𝓵𝓵𝔂 𝓼𝓸, 𝓲𝓼 𝓸𝓷𝓮'𝓼 𝓵𝓸𝓿𝓮 𝓸𝓯 𝓶𝓾𝓼𝓲𝓬.
𝓘𝓽 𝓲𝓼 𝓽𝓸𝓵𝓮𝓻𝓪𝓷𝓽.
𝓣𝓱𝓮 𝓻𝓮𝓿𝓮𝓻𝓫𝓮𝓻𝓪𝓽𝓲𝓸𝓷 𝓸𝓯 𝓼𝓱𝓪𝓻𝓮𝓭 𝓮𝔁𝓹𝓮𝓻𝓲𝓮𝓷𝓬𝓮;
𝓲𝓷 𝓹𝓻𝓮𝓼𝓮𝓷𝓬𝓮, 𝓲𝓷 𝓪𝓫𝓼𝓮𝓷𝓬𝓮.
𝓣𝓱𝓮 𝓯𝓵𝓸𝔀 𝓸𝓯 𝓬𝓸𝓷𝓷𝓮𝓬𝓽𝓮𝓭𝓷𝓮𝓼𝓼 𝓽𝓱𝓻𝓸𝓾𝓰𝓱 𝓱𝓾𝓶𝓲𝓵𝓲𝓽𝔂, 
𝓽𝓱𝓪𝓽 𝓲𝓼 𝓲𝓷 𝓰𝓲𝓿𝓲𝓷𝓰 𝓪𝓷𝓭 𝓲𝓷 𝓻𝓮𝓬𝓮𝓲𝓿𝓲𝓷𝓰.
𝓕𝓸𝓾𝓷𝓭 𝔀𝓸𝓿𝓮𝓷 𝓲𝓷-𝓫𝓮𝓽𝔀𝓮𝓮𝓷 𝓸𝓾𝓻 𝓯𝓸𝓻𝓰𝓲𝓿𝓲𝓷𝓰,
𝓪𝓷𝓭 𝓵𝓸𝓼𝓽 𝓲𝓷 𝓸𝓾𝓻 𝓯𝓸𝓻𝓰𝓮𝓽𝓽𝓲𝓷𝓰.
𝓣𝓱𝓻𝓸𝓾𝓰𝓱 𝓸𝓾𝓻 𝓻𝓮𝓪𝓬𝓱 - 𝓽𝓸 𝓱𝓸𝓵𝓭 𝓸𝓷, 
𝓪𝓷𝓭 𝓸𝓾𝓻 𝓻𝓮𝓵𝓮𝓪𝓼𝓮 - 𝓽𝓸 𝓵𝓮𝓽 𝓰𝓸.
𝓜𝓾𝓼𝓲𝓬 𝓲𝓼 𝓷𝓸𝓽 𝓽𝓪𝓷𝓰𝓲𝓫𝓵𝓮, 𝓫𝓾𝓽 𝔀𝓮 𝓯𝓮𝓮𝓵 𝓲𝓽. 
𝓘𝓽 𝓲𝓼 𝓽𝓱𝓮 𝓻𝓮𝓵𝓲𝓮𝓿𝓮𝓻, 𝓲𝓽 𝓲𝓼 𝓽𝓱𝓮 𝓱𝓮𝓪𝓵𝓮𝓻; 
𝓸𝓯 𝓸𝓾𝓻 𝓲𝓷𝓷𝓮𝓻 𝓮𝔁𝓹𝓮𝓻𝓲𝓮𝓷𝓬𝓮𝓼 𝓪𝓷𝓭 𝓮𝔁𝓹𝓻𝓮𝓼𝓼𝓲𝓸𝓷𝓼.

𝓜𝓪𝓼𝓽𝓮𝓻 𝓟𝓮𝓪𝓬𝓮, 𝓜𝓪𝓼𝓽𝓮𝓻𝓹𝓲𝓮𝓬𝓮. 

🌸𝓒𝓱𝓲𝓷𝓶𝓸𝓴𝓾 ..𓂃🖋



..𓂃..𝓘 𝓪𝓼𝓴𝓮𝓭 𝓶𝔂 𝓼𝓱𝓪𝓭𝓸𝔀 𝓽𝓸 𝓭𝓪𝓷𝓬𝓮..𓂃..

𝓣𝓱𝓮 𝓲𝓷𝓷𝓮𝓻 𝔀𝓸𝓻𝓴 𝓬𝓪𝓵𝓵𝓼,
𝔀𝓲𝓽𝓱 𝓪 𝓼𝓸𝓯𝓽 𝓼𝓽𝓮𝓪𝓭𝔂 𝓿𝓸𝓲𝓬𝓮
𝓣𝓸 𝓭𝓮𝓵𝓿𝓮 𝓲𝓷𝓽𝓸 𝓭𝓮𝓹𝓽𝓱𝓼,
𝓽𝓸 𝓼𝓱𝓪𝓽𝓽𝓮𝓻 𝓸𝓾𝓻 𝓬𝓱𝓸𝓲𝓬𝓮
𝓣𝓸 𝓶𝓮𝓮𝓽 𝔀𝓲𝓽𝓱 𝓽𝓱𝓮 𝓼𝓱𝓪𝓭𝓸𝔀,
𝓽𝓸 𝓱𝓸𝓵𝓭 𝓲𝓽 𝓲𝓷 𝓰𝓻𝓪𝓬𝓮
𝓘𝓷 𝓽𝓱𝓮 𝓶𝓲𝓻𝓻𝓸𝓻 𝓸𝓯 𝓭𝓪𝓻𝓴𝓷𝓮𝓼𝓼,
𝔀𝓮 𝓯𝓲𝓷𝓭 𝓸𝓾𝓻 𝓽𝓻𝓾𝓮 𝓯𝓪𝓬𝓮.
𝓗𝓮𝓪𝓵𝓲𝓷𝓰 𝓯𝓵𝓸𝔀𝓼 𝓰𝓮𝓷𝓽𝓵𝓮,
𝓵𝓲𝓴𝓮 𝓻𝓲𝓿𝓮𝓻𝓼 𝓸𝓯 𝓵𝓲𝓰𝓱𝓽
𝓦𝓮 𝔀𝓮𝓪𝓿𝓮 𝓽𝓱𝓻𝓸𝓾𝓰𝓱 𝓽𝓱𝓮 𝓷𝓲𝓰𝓱𝓽,
𝓮𝓶𝓫𝓻𝓪𝓬𝓲𝓷𝓰 𝓽𝓱𝓮 𝓯𝓲𝓰𝓱𝓽
𝓔𝓿𝓮𝓻𝔂 𝓼𝓱𝓪𝓻𝓹 𝓽𝓱𝓸𝓻𝓷 𝓱𝓲𝓭𝓮𝓼 𝓪 𝓫𝓵𝓸𝓸𝓶 𝔂𝓮𝓽 𝓽𝓸 𝓽𝓱𝓻𝓲𝓿𝓮,
𝓘𝓷 𝓽𝓱𝓮 𝓬𝓱𝓪𝓸𝓼 𝓸𝓯 𝓫𝓮𝓲𝓷𝓰, 𝓽𝓱𝓮 𝓼𝓹𝓲𝓻𝓲𝓽'𝓼 𝓪𝓵𝓲𝓿𝓮.

𝓣𝓸 𝓭𝓪𝓷𝓬𝓮 𝓲𝓷 𝓽𝓱𝓮 𝓭𝓲𝓬𝓱𝓸𝓽𝓸𝓶𝔂,
𝓽𝓱𝓮 𝓵𝓲𝓰𝓱𝓽 𝓪𝓷𝓭 𝓽𝓱𝓮 𝓭𝓪𝓻𝓴
𝓦𝓲𝓽𝓱 𝓬𝓸𝓾𝓻𝓪𝓰𝓮 𝓪𝓼 𝓸𝓾𝓻 𝓪𝓻𝓶𝓸𝓾𝓻,
𝓲𝓽 𝓲𝓰𝓷𝓲𝓽𝓮𝓼 𝓪 𝓼𝓶𝓪𝓵𝓵 𝓼𝓹𝓪𝓻𝓴
𝓣𝓱𝓮 𝓮𝓶𝓫𝓻𝓪𝓬𝓲𝓷𝓰 𝓸𝓯 𝓸𝓾𝓻 𝓯𝓮𝓪𝓻𝓼,
𝓸𝓷𝓵𝔂 𝓽𝓱𝓮𝓻𝓮 𝔀𝓮 𝔀𝓲𝓵𝓵 𝓯𝓲𝓷𝓭
𝓐 𝔀𝓱𝓸𝓵𝓮𝓷𝓮𝓼𝓼 𝓸𝓯 𝓫𝓮𝓲𝓷𝓰,
𝓽𝓱𝓮 𝓾𝓷𝓲𝓸𝓷 𝓸𝓯 𝓶𝓲𝓷𝓭
𝓘𝓷 𝓽𝓱𝓮 𝓺𝓾𝓲𝓮𝓽 𝓬𝓱𝓪𝓶𝓫𝓮𝓻𝓼 𝓸𝓯 𝓽𝓱𝓮 𝓼𝓸𝓾𝓵'𝓼 𝓫𝓻𝓮𝓪𝓽𝓱𝓲𝓷𝓰 𝓼𝓹𝓪𝓬𝓮,
𝓦𝓱𝓮𝓻𝓮 𝓼𝓱𝓪𝓭𝓸𝔀𝓼 𝓶𝓪𝓼𝓺𝓾𝓮𝓻𝓪𝓭𝓮 𝓪𝓷𝓭 𝔀𝓱𝓲𝓼𝓹𝓮𝓻𝓼 𝓽𝓻𝓪𝓬𝓮
𝓣𝓱𝓮 𝓱𝓮𝓪𝓻𝓽'𝓼 𝓽𝓻𝓾𝓮 𝓳𝓸𝓾𝓻𝓷𝓮𝔂, 𝓿𝓮𝓲𝓵𝓮𝓭 𝓲𝓷 𝓽𝓱𝓮 𝓷𝓲𝓰𝓱𝓽,
𝓢𝓮𝓮𝓴𝓲𝓷𝓰 𝓽𝓱𝓮 𝓭𝓪𝔀𝓷, 𝓪 𝓼𝓹𝓲𝓻𝓲𝓽𝓮𝓭 𝓵𝓲𝓰𝓱𝓽.
𝓘𝓷 𝓭𝓻𝓮𝓪𝓶𝓼 𝔀𝓮 𝓬𝓸𝓷𝓿𝓮𝓻𝓼𝓮, 𝓲𝓷 𝓼𝓱𝓪𝓭𝓸𝔀𝓼 𝔀𝓮 𝔀𝓻𝓲𝓽𝓮 ....

𝓟𝓻𝓸𝓽𝓮𝓬𝓽 𝔂𝓸𝓾𝓻 𝔀𝓪𝓵𝓴, 𝓟𝓻𝓸𝓽𝓮𝓬𝓽 𝔂𝓸𝓾𝓻 𝓵𝓲𝓰𝓱𝓽.

🌸𝓒𝓱𝓲𝓷𝓶𝓸𝓴𝓾 ..𓂃🖋 



𝓘 𝔀𝓻𝓲𝓽𝓮 𝓹𝓸𝓮𝓽𝓻𝔂 𝓽𝓸 𝓶𝓾𝓼𝓲𝓬 ....

Archie Chen is a concert pianist, creator, and cultural leader whose music spans from the world’s great stages to the quantum unknown. Praised by the Irish Times for his “daring velocity” and “fiery temperament,” he has performed at Carnegie Hall, Lincoln Center, the Gewandhaus, and beyond — captivating audiences across Europe, Asia, and the Americas.

As Executive Director of Holy Names Music Center in Spokane, Archie brings the same artistry and vision he brings to the keyboard: bold, creative, and committed to transformation. His recordings on Sony Classical and Carnegie Artists showcase not just technical brilliance but an alchemist’s touch — turning rhythm into resonance, matter into music.

This page is where it all comes together: live takes, studio sessions, and sound experiments. A space to step inside the frequency and hear music not just as notes, but as energy in motion.

Creative time-waster and procrastinator par excellence.