when Chopin was a teenager, he often came into contact with some patriotic intellectuals with strong national consciousness at home and was deeply influenced by them, which brought great benefits to Chopin's understanding of national culture and broadening his knowledge horizon. It can be said that he grew up under the influence of Polish national literature and folk music, which well cultivated patriotic feelings as the pillar of his lifelong spirit. In 183, Chopin quietly left the motherland with the soil of his hometown on the 18th, and went to Paris, and never came back, but he missed his motherland all his life. In his mind, Poland is highly idealized, and the motherland has become a symbol of longing. Heine is one of the few elite figures who can really understand Chopin's value. With his unique rational understanding and beautiful writing style, he wrote: "Chopin is neither Polish nor French, nor German. He has a more noble lineage. He comes from the land of Mozart, Raphael and Goethe, and his real motherland is a country of poetry."
Among Chopin's works, Bolognez and Mazurka are the best expressions of his Polish national style. In these two kinds of works, Chopin has absorbed the distinctive melodic factors from Polish folk music, and has a high degree of emotional expression and personality. Its rhythm also comes from folk dance music. In terms of music structure, he created a romantic structure with national characteristics on the basis of Polish folk music structure. In the aspect of modal harmony, it also absorbs nutrients from folk music and creates a kind of color harmony and modulation principle with national characteristics.
Mazuka is Chopin's most national work. During Chopin's stay in Warsaw, he often had the opportunity to visit the countryside, where he was always attracted by simple and beautiful folk music, especially the folk dance music such as Mazuka and Kuyawiak, which fascinated him. These feelings were the basis for his creation of Mazuka. Mazurka, which is fast and strong, with changeable and irregular stress position, Kuyawiak, which is smooth and slow, and whose stress is mostly not on the first beat, and Oberlik, who is fast and light, whose stress is mostly taken at the end of the second bar in every two bars, are skillfully combined to form Chopin's Mazurka. In 58 mazurka dances, the rich inner world of this Polish artist is displayed. Chopin has upgraded Mazuka to a rudimentary art form. No matter how many Mazuka dances he wrote, they are rarely the same. Each song has a poetic brushwork and a novel thing in form and expression. These dances are full of strong Polish local flavor, and their emotions change rapidly and richly. Sometimes they are melancholy and gloomy, sometimes they are bright and cheerful, sometimes they are sad and thoughtful, and then they are replaced by passion full of vitality in an instant.
Chopin's Mazuka basically has two types: one has a strong folk style; The other belongs to the type of citizen class, with very detailed melody lines and a certain degree of sentimental citizen flavor. Chopin never stopped Mazuka's creation until the end of his life. In the earliest Mazuka creation, Chopin has not really grasped the spirit of folk music, and the whole structure is not complete and mature, and the distinctive folk style is quite rare. Among Chopin's early Mazukas, the sixth and seventh ones are more mature. These works were created during the Warsaw period. Among these Mazukas, Chopin rarely adopts the original folk tunes, but their melodies are closely related to folk music. For example, in the fourth song of Op. 17, the first paragraph of dance music is distinctly exotic, sad and gloomy, and the heart is full of heavy depression; The middle section is a sharp contrast, with a real Polish folk "Mazuka" tone. The content of this piece of music is undoubtedly related to the life of Jews in rural Poland.
Chopin's Mazuka has a great influence on later musicians, and almost every Polish composer after Chopin has written works of this genre. In addition, composers from other European countries are also influenced by this to some extent.
Bolognese dance also plays an important role in Chopin's creation.
This kind of dance music is different from Mazuka. It didn't come directly from the folk. It was originally used as a dance accompaniment for aristocratic salons, and then it was transplanted into the field of piano music by urban amateur composers. In the 19th century, this kind of music has often changed its original appearance, and has become a timely song and patriotic song. Therefore, Chopin's Polonez also broke away from its original aristocratic salon atmosphere and became a work cultivated by patriotism.
Chopin's middle-speed, triple-beat dance music, which has a typical rhythm form at the end of the passage, tends to develop into grand and large-scale music. It is dense and rich in harmony with chords, has a solid piano texture, often emits orchestra-like sound, and is symmetrical and rigorous in form and structure. In terms of the image of music, there is a clear development clue running through Bolognez's creation, that is, from the early brilliant and gorgeous Bolognez with brilliant skills to the truly profound, severe, heroic and passionate Bolognez. Chopin gave up the romantic sadness in early Bolognez, and made this dance music acquire a sad, grand and patriotic temperament. If the glorious triumphal horn sounded in Army Polonez in A flat major, then Polonez in C minor (p.4) is an epic about national tragedy. Chopin's individual Bolognes, such as Fantasy Bolognes, have developed into very complicated works both in content and art.
Chopin wrote 2 Bolognes in his life. In 1817, the first two pieces of Bolognez (in G minor and B major) were composed. These two pieces of music were just childish attempts, naive imitations of works of the same genre at that time, which were not original and of little artistic value. Starting from Bolognez in G-flat minor in 1822-1824, Chopin has begun to get rid of the influence of Ozinsky and others, and some factors of his unique personal style have emerged, such as: the piano texture is complex and skillful, and he has a keen grasp of the color of sound and so on. Those Bolognes, together with Bolognes in E-flat major accompanied by a band, actually prepared for Chopin's later creation of mature Bolognes. During the ten years from the mid-193s to the mid-4s, Chopin composed the last seven Polonez. These works are the most mature and outstanding works of his kind. After the failure of the Warsaw Uprising in 1831, Chopin's thoughts matured rapidly, and the failure of the Uprising brought him a heavy emotional experience. He re-evaluated his works with a critical eye, especially found the defects in ideological content of those works. Worrying about the fate of the motherland and feeling about the glorious history of the nation have made Chopin have a new tendency in his creation. This tendency is also clearly reflected in his Polonez after 1835.
the best of Chopin's polonius is p.53 (in a flat major), which was written before 1843. Several main musical images of the music are very distinct, which are permeated with resolute spirit. The middle section is full of headlines, describing the scenes of fighting and killing. The headline description is integrated with the composer's passionate feelings. Chopin's Bolognez is the most precious thing in his thoughts: tenacious resistance, confidence in victory in struggle and belief in the future. These are not all found in his works.
Chopin's works are of special significance to Poland, which is in alien slavery and constantly striving for independence and liberation. His strong national consciousness, his unique musical style and his achievements in the field of piano have made him gain a particularly important position in the history of music. In particular, the national content and style of his music can be called the pioneer of the national music school that rose in the mid-19th century.