No matter which country he is in, Chopin occupies an important position in their piano repertoire. The reason is not only that Chopin's works are particularly suitable for piano concerts and radio and television audiences, but also that the beauty of Chopin's music lies in its poetic flavor and charm, in the variety of expressions and tonality, and in the consistency and content. Into a piece of, formal development. However, all pianists who express Chopin are not qualified to be called Chopin experts, although absolutely accurate expression standards are extremely difficult or even impossible to stipulate. On the one hand, with the development of musical expression methods, with the advancement of piano sound and the increasing perfection of mechanical functions, and with the evolution of aesthetic concepts, everyone's understanding of Chopin's works is also constantly evolving. On the other hand, regarding the expression of his works, there are various different opinions coexisting in the world. This depends on the personality and reaction of the person expressing it: some tend to be in a classical spirit, some in a romantic atmosphere, Some tend to be expressionistic. In fact, all musical expressions are expressed to varying degrees by these different concepts.

In the field of art, we have come to a conclusion: if we ignore the facts and set some strict scientific and aesthetic rules, then there is no need to try, and we are doomed to failure. After confirming this, we will find another path to understand Chopin. This path is to grasp certain characteristics of his music, which can be used as the key characteristics to understand his works. Even a quick glance at Chopin's place in the history of 19th-century music can help us gain a deeper understanding of the subject. One of the most popular classifications is to regard Chopin as a Romantic. This evaluation is accurate from the perspective of the spirit of the times and the general atmosphere of the time, but when considering Chopin's style, this evaluation is inaccurate, because the romanticism trend has obviously declined and limited Chopin to this narrow thought. Within the range, it is certainly wrong.

Chopin’s music was ahead of the times as an innovator. The increasingly rich modal system originated from it, and its roots were derived from the most enduring and progressive tradition in the past: Chopin. He believed that Mozart was an unattainable "perfect" example, and Bach's "Well-Tempered Clavier" was the object of his lifelong study.

As for the content of Chopin's works and his method of expression, it can be said that he uses the most condensed and concise form to express the essence of the strongest emotions, vastness and boundless fantasy, like crystals. The same clarity; the most subtle tremors and deepest thoughts of the soul are often followed by impassioned heroic spirit and passionate revolutionary spirit; sometimes there is carefree and elated joy, sometimes there is desolation, resentment, and lost dreams; Next to the intricately carved jewelry stands a majestic temple. Indeed, in Chopin's works, there is not a single measure without music, not a single phrase that is only for effect or to show off technique. Understanding his thoughts, paying attention to the evolution of his ideas, the contemporary evidence left by his students and traditions, and the examples of outstanding Chopin players are all of great benefit to artists who want to understand his immortal works. Helpful. Only by understanding Chopin's works in their most comprehensive aspects can we say that it is appropriate and faithful, or at least there will be no wrong views.

Let's compare "Polonaise" played by three pianists. The famous Polish pianist and composer Chopin settled in Paris after the failure of the Warsaw Uprising in 1831. One day, at the home of the Polish noblewoman Wutinsky in Paris, three guests came. They were all famous musicians at the time and frequent visitors to the Wutinsky family. They are Germany's Schiller, Hungary's Liszt and Poland's Chopin. When the musicians met, the topic naturally revolved around the content of the music, and gradually they talked about their views on national music. At this time, differences emerged between them. It turns out that Hiller was a composer who advocated "absolute music", and he did not admit the existence of national consciousness in music; Liszt was the originator of modern title music, and he admitted that any music must have its content; Chopin believed that his The music is absolutely national music. The three of them argued over this issue. So Wutinsky came out to speak. She said: "Chopin just finished a piece of "Polonaise". It is difficult to reach a conclusion in the debate. It is better for everyone to go to the piano and play it again to confirm whether there is national consciousness in the music." Everyone agreed with her. suggestions.

So, first of all, Hiller sat in front of the piano, and he played the "Polonaise" rigorously and meticulously with the most proficient skills. Because his theory is that if music has content, it will destroy the perfect artistic conception of music. Therefore, his performance can indeed amaze his accuracy and skill, but other than that, there is only a sense of confusion and emptiness. .

Liszt then sat in front of the piano. He knew that Chopin's "Polonaise" was composed for Poland that was divided by the enemy. Liszt also felt sympathy and anger for this. Therefore, in his music, people heard gunshots and flames, battles and galloping horses. After the battle, there were the cries of ravaged Polish women and children, and finally the desperate shouts and the blood of the angry patriots. boiling. After the song ended, Hiller's face was nervously moved by the unfortunate music. Wutinsky, Liszt and Chopin all shed tears.

Finally, Chopin sat down at the piano. He sat silent for a long time.

Because he felt that Liszt's interpretation of this dance music was wrong, and he had to give it a correct performance himself. When his heart has completely entered the realm of music. I saw him murmuring softly: "Poland has not perished yet!" Then, music poured out from the piano, filling and spreading. What appears here is not Poland's horror, its repugnant fate, nor war and death. What appears here is the Polish sunshine. Under the sunshine are Polish villages and sheep; the fields are blooming with lush flowers.

Then, the mountains and rivers of Poland, the cheerful and happy villagers, playing the flute and dancing as if on a holiday, and the children playing...