Chopin

Also known as: Fryderyk Franciszek Chopin, Fryderyk Franciszek Chopin

Occupation: Composition

Region : Poland

Birthplace: Poland

Birthday: March 1, 1881

Character Introduction

Frederick Francis Fryderyk Franciszek Chopin (March 1, 1810 - October 17, 1849)

The great Polish musician, he loved Polish folk music since childhood and wrote "Polonaise" at the age of seven. He performed on stage at the age of eight, and by the age of twenty he had become a recognized pianist and composer in Warsaw. During the second half of his life, when Poland was subjugated, he spent time abroad and composed many patriotic piano works to express his homesickness and hatred for the country's subjugation. Among them are heroic works related to Poland's national liberation struggle, such as "Ballade No. 1" and "Polonaise in A flat major"; there are combat works full of patriotic enthusiasm, such as "Revolutionary Etudes", "B "Scherzo in Minor", etc.; there are tragic works that mourn the fate of the motherland, such as "Sonata in B flat minor", etc.; there are also fantasy works that miss the motherland and relatives, such as many nocturnes and fantasias. Chopin never left the piano throughout his life, and almost all his creations were piano music. He was called the "piano poet". He often performed to raise funds for his compatriots abroad, but reluctantly performed for nobles. In 1837, he sternly refused the position of "chief pianist to His Majesty the Emperor of Russia" awarded to him by Tsarist Russia. Schumann called his music like "a cannon hidden among the flowers", announcing to the world: "Poland will not fall." He lived a very lonely life in his later years and painfully called himself a "Polish orphan far away from his mother." Before his death, he asked his relatives to transport his heart back to his motherland.

Polish Talent

1. Another Prodigy

The Chopin family lived in three rooms on a countess's manor house, which was pleasant. The room has white walls and a luminous ceiling, and windows with snow-white thin sand curtains. On the wide windowsill, fuchsias and geraniums are blooming vibrantly. The house was furnished with heavy mahogany furniture, many bookshelves, and a white-column stove, whose crackling pine wood gave off fragrant heat on cold days. The largest of the three rooms houses a piano. Unlike other prodigy musicians, the young Chopin did not like the piano.

Chopin’s first teacher was a strange figure. He always wore a light yellow coat and trousers, patent leather boots and a gorgeous but tacky vest. According to him, he was in an auction house. Purchased belongings of the last king of Poland. He always carried a long pencil with which he used to hit the heads and fingers of slow and unruly students. He made Chopin fall in love with the piano and played it very beautifully. As a result, the young Chopin gradually became famous in Warsaw as the "second Mozart". At the age of ten, he was taken to play in front of a great singer. The singer was very happy and gave him a watch. Soon after, the Russian Tsar heard him playing and immediately gave him a diamond ring as a gift. There was this sentence in a European newspaper at that time: "God gave Mozart to Austria, but gave Chopin to Poland." When Chopin was still very young and couldn't memorize music, he could make up some sketches to make people happy. The teacher wrote it on the manuscript paper for him. Chopin later studied composition and other courses at the Warsaw Academy where his father taught French. When he was seventeen, he finally left school to devote himself to music.

2. The patriotic musician who "started from the beginning to the end"

Chopin was the first composer to devote his life to one instrument. Even Liszt, the Paganini of pianos, switched to writing for full orchestra in his later years, so that when his piano works are rewritten for orchestra, they sound just as good—or even better. good. But Chopin didn't try to imitate the orchestra on the piano. He could express music better on the piano than on any other instrument. No matter what the rhythm of Chopin's works is - whether it is a waltz, a Polish mazurka or a polonaise - the melody is almost always in the form of a simple ABA three-part song. His music is as different from a Beethoven sonata as a short but perfect poem is from a Shakespeare play. Chopin held two successful concerts in Vienna, and then wanted to seek fame in a wider world.

After three farewell concerts in Warsaw, he set off. Before he had gone very far, his teachers and former classmates stopped his carriage and sang a chorus written in his honor. Then they gave him a silver commemorative cup filled with soil from his hometown, hoping he would never forget his hometown. Although he never came back, he never forgot the motherland where he was born and raised.

3. Paris Years

Shortly after Chopin arrived in Paris, he became the most popular teacher in Paris. He can have as many students as he wants, and the price is the highest. He attended class like a prince, always wearing white sheepskin gloves, and arriving in a carriage, accompanied by a servant. List introduced him to the famous novelist Madame Dudevant, who wrote under the pen name of George Sand. Through her he was drawn into the cheerful circle of artists, writers and musicians who called Paris home. But all the success and pleasure that befell him could never make him forget the glory and sorrow of Poland. All of Chopin's musical works are short music paintings of his various emotions. Some were taken from his own life—the dreamlike nocturnes and short preludes he wrote while visiting George Sand and her daughters on Mazorka, and the waltzes— —Especially the one in D flat major, which is said to have been written after he watched George Sand's little white dog chasing its tail. But a larger part of his music grew out of his love for the place where he was born.

4. Polish Rhythm

Many of Chopin's greatest works were written using the rhythms of two ancient Polish dances, the mazurka and the polonaise. The Polonaise is a noble dance - princes and heroes march steadily and solemnly in front of the king's throne. Chopin used this form to compose some of his most magnificent works. Chopin often saw the mazurka, a rural dance danced by Polish peasants who tried to forget the hardships of their lives in the exuberant joy. The rhythm is three beats per measure, intensified by a beat on the last beat as the dancers click their heels together. Chopin composed more than fifty mazurkas, and in this rhythm, he expressed various emotions from sadness and mystery to the joy of life. Chopin's great Sonata in B flat minor is based on an ancient Polish poem, while his four Ballades tell four stories written by Poland's greatest poet. One of the most popular is about a young knight's love for a beautiful and mysterious lady. Even his "Etudes" are not just exercises, but musical sketches. The great "Revolutionary Etude" that all students who want to be piano masters want to learn was written when Chopin heard that the Poles had repeatedly risen up against Russia, but were repeatedly brutally suppressed. Romantic master Schumann once described it this way: "Chopin's works are like cannons hidden among flowers." Perhaps the reason why Chopin's music is loved by people is that it not only tells the beauty and sadness of Poland, but also tells a kind of Fierce patriotism. Chopin's friend in Paris, the German poet Heine, once wrote: "As he sat down at the piano, I felt as if a fellow countryman from the country of my birth was telling me the strangest thing that had ever happened in my absence. Sometimes I want to ask him: 'Are those roses at home still blooming with enthusiasm? Are those trees still singing so beautifully in the moonlight? '" With a "charming smile and a pleasant attitude" ", with a lock of beautiful curls like an angel" the elegant little musician became the darling of the Paris drawing room. But the experience of living in Paris destroyed Chopin's health. He became sensitive and irritable. After a quarrel, his ten-year friendship with George Sand completely collapsed.

The Piano Poet

1. Complex titles and chic compositions

Chopin composed many works in his life, all of which were piano pieces, and one-tenth of them were Nine is another piano solo. But the most troublesome thing is that most of his works only have genres but no titles. For many works, even if they are marked with mode, genre and genre number, it is still difficult to figure out which one they are. Therefore, when later generations search for Chopin's works, they often use the work number (Op.) as the main basis for searching, because the work number will not cause duplication and confusion.

When Chopin composed music, he was basically inseparable from the piano keyboard.

According to people at the time, Chopin was good at improvising on the piano, and he was as smooth as one breath. However, when he wrote to reflect on the improvised music, he was extremely laborious, and often left many traces of alterations on the manuscript paper. Many completed works, every time he played them, there would be a modified version. It can be seen that Chopin was very emotional about composing music.

2. Chopin’s creed: Let people guess!

"Take off your hats, gentlemen! Here is a genius!" This is a review of Chopin's second work published by Schumann in the 49th issue of "Volkswagen Music" in December 1831. The article praised Chopin's words. This article is Schumann's first music criticism article. The Germans' understanding of Chopin began with Schumann's article.

Between 1827 and 1828, Chopin wrote Work No. 2 - Piano and Orchestra, based on the minor duet between Don Juan and Zelina in the first act of Mozart's opera "Don Juan". Variations for band.

On October 27, 1831, the German pianist Julius Knorr (1807-1861) made his debut at the Leipzig Gewandhaus Concert Hall, playing Chopin's Opus No. 2. Schumann used Julius's name as a pseudonym for his article commenting on this piece.

On December 16, 1831, Chopin wrote to his friend Wojciechowski from Paris: "A few days ago, I received a letter from an enthusiastic German from Kassel. In a ten-page review, which he analyzes section by section after a lengthy introduction (Opus No. 2), he believes that according to the orthodox view, they cannot be regarded as variations, but as an imaginary picture. He said that in the second variation, Don Juan and Leporello were chasing; in the third variation, Don Juan kissed Zelina, which made Margetto vomit; in the drop of the fifth measure of the Adagio, Don Juan and Zelena kissing in D major. The writer was so ridiculously crazy that he couldn't wait to publish the article in the Music Magazine (belonging to his son-in-law Fetus). magazine). The kind-hearted Hiller was a very talented young man...he was very concerned about me and immediately told Fetis's father-in-law that he would do me no good but harm by writing that review." Chopin said. Fettes (1784-1871) was a Belgian musicologist. In 1806, he married Adelaide, the daughter of Robert, the editor of the National Courier. The "Music Magazine" founded by Fetis in 1827 was a weekly magazine. Then, the "enthusiastic German" who wrote that review article should be Robert. Chopin was most averse to the use of words to explain his works. In order to make his publications eye-catching, Wiesel (1797-1885), a London music publisher, often gave his works fantastic titles. For example, "Variations in B flat major" (Opus 2) was labeled "Homage to Mozart" ;

"Introduction and Polonaise" (Opus 3) is labeled "Happiness"; "Mazurka Rondo" (Opus 5) is labeled "Persiana"; "Three Nocturnes" "(Opus 9) is marked as "The Gurgling Waters of the Seine"; "Three Nocturnes" (Opus 15) is marked as "West Wind"; "Waltz in E flat major" (Opus 18) is marked as "Invitation to Dance"; "Wave" "Lero Dance" (Op. 19) is labeled "Memories of Andalusia"; "Scherzo in B minor" (Op. 20) is labeled "Banquet in Hell"; "Ballade No. 1" (Op. 23) is labeled "Nothing" "Two Nocturnes" (Op. 27) is labeled "Sorrow"; "Scherzo in B flat minor" (Op. 31) is labeled "Meditation"; and "Two Nocturnes" (Op. 37) is labeled "Sigh" "; "Two Polonaise" (Op. 40) is labeled "Pet"; and "Mazurka" is collectively called "Polish Memories". In 1841, Chopin said angrily in a letter from Noan to his friend Fontana (1810-1869): "As for Wiesel, he is a fool and a liar. You wrote to him with love Say whatever you want... If he keeps losing money on my works, it's because he doesn't follow my opinions and adds stupid titles. The voice from my heart tells me not to send them anymore. Let him add these names to any of his works. You can speak to him as sharply as possible." In Chopin's opinion, the "enthusiastic German" was as stupid as Wiesel. , equally ridiculous.

But the "imaginary picture" the German painted in his article may not have been his invention, but followed Schumann's footsteps; because Schumann also mentioned in his article that the second variation "is like a pair of The lover (but not Don Juan and his servant Leporello) is chasing", the beautiful B flat major is "The lover's first kiss" and so on. Schumann likes to add literary titles to his works, such as "Carnival" (Op. 9), "Fantasia" (Op. 12), "Childhood Scenes" (Op. 15), "Juvenile Songbook" (Op. 68) ), "Forest Scene" (Op. 82), etc. are examples; Chopin hated this deeply, and his "Nocturne in G minor" (Op. 15 No. 3) originally wanted to be annotated "After watching the tragedy "Hamlet"" The words were later cancelled, he said: "Let people guess." Let the music speak for itself and not impose subjective assumptions on the audience - this is Chopin's belief. The phrase "let people guess" has universal significance for Chopin's works.

hopin Frederic·Francois (1810-1849) Polish-born French composer and pianist of the romantic era. His music, written chiefly for the piano, was based on traditional Polish dance themes.

< p>Chopin Frederic Francisco (1810-1849) was a Polish-French composer and pianist during the Romantic period.

The music he writes mainly for piano is based on traditional Polish dance themes

Works: 1. "Nocturne" No. 1

2. "Nocturne" No. 2

3. "Nocturne" No. 5

4. "Nocturne in C sharp minor" No. 5. Nocturne in C sharp minor Aarau

5. "Nocturne in C minor" No. 5 Arrau

6. "Ballade" Horowitz

7. "Rondo in E flat major" Horowitz

8. "No. Sonata for Two Pianos" Rubinstein

9. "Nocturne" OP.9-1 Fu Cong

10. "Nocturne" OP.32-2 Rubinstein

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11. "Nocturne" OP.72-1 (posthumous work) Rubinstein

12. "Nocturne" OP.72-1 (posthumous work) Fu Cong

< p>13. "Fantasy Impromptu in C sharp minor" Rubinstein

14. "Joy" Aarau

15. "Revolutionary Etude" No.12 Maurizio Pollini

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16. "Revolutionary Etude" No.12 Richter

17. "Etude in E Major" (Farewell) Op.12 No.3 Richter

18 ."Etude in E major" (Farewell) Op.12 No.3 Maurizio Pollini

19. "Etude No. 1" OP.10 No.1 Richter

21 ."Nocturne" No.20 In C Sharp Minor Op. posthumous Pires

22."Etude No. 2" Op.10 No.2 Richter

23."Nocturne" NO.8 Pierce

24. The third movement of "Piano Sonata No. 2" Shura. Cherkasky

25. The first movement of "Piano Sonata No. 3" Shura .Cherkasky

98. "Piano Sonata No. 3" second to fourth movements Shura. Cherkasky

26. "Fantasia in F minor" Shura La. Cherkasky

27. "Grand Waltz" Rachmaninov

28. "Mazurka" NO.1

< p>29. "Mazurka" NO.3

30. "Polonaise No. 6" Heroic Works No. 53

31. "Waltz No. 9" Li Patti

32. "Numbered Waltz 1" Aarau

33. "Numbered Waltz 2" Aarau

34. "Numbered Waltz 3" "Arrau

35. "Polonaise in G minor" Biret

36. "Military Polonaise" Op.40, No.1 Maurizio Pollini

37 ."Polonaise in B flat major (not numbered)" Biret

38. "Nocturne in B major" Op 32 No 1 La Rocha

39. "Paganini "Reminiscence Variations" Fu Cong

40. "Barcarolle" La Rocha

41. "Polonaise in B flat minor" (not numbered) Biret

42 ."Lullaby" La Rocha

43. "First Piano Ballade" Rubinstein

43. "First Piano Ballade" Horowitz

43. "Piano Ballade No. 1" Kissin

44. "Piano Ballade No. 1" Pollini

45. "Polonaise in G flat major" (Except number) Biret

46. "Piano Ballade No. 2 in F major" Rubinstein

47. "Piano Ballade No. 3 in A flat major" Rubinstein

48. "Piano Scherzo No. 1 in B minor" Rubinstein

49. "Piano Scherzo No. 2 in B flat minor" Rubinstein

50. "Piano Scherzo No. 4 in E major" by Bogolelic

51. "Raindrops" Prelude by Argerich

52. "Five Mazurkas" Michelangeli

53. "Prelude No. 28-24" Argerich

54. "Prelude Op. 45"

Gritsch

55. "Scherzo No. 3 in C sharp minor" Bogorelic

56. "Puppy Waltz" Lipatti

57. "Bolero" Ugorsky

58. "Glorious Variations" Zilberstein

59. "Piano Sonata No. 1" Zilberstein

60. "Fantasia Impromptu in C minor" Li Yundi

61. "Improvisation No. 3 in G flat major" Aarau

62. "Waltz" Opus 69-2"Dinu Lipatti

63. "Nocturne Opus 27-1" Barenboim

64. "Concert Allegro" Ashkenazy

65. "Introduction and Variations on a Germanic Theme" Vasari

66. "Waltz" Op 64 No2 Lipatti

67. ""Hexameron" Variations" Ashkenazy

68. "Piano Impromptu No. 1 in A flat major" Aarau

69. "Fantasy Polonaise" Brendel

70. "Tower" "Lantella Dance" Ugorsky

71. "Prelude in G sharp minor, Op. 28 No. 7" Ivo Pogorelich

72. "Prelude in G sharp minor, Op. 28 No. 7" 12》Ivo Pogorelich

73. "Prelude in G-sharp minor, Op. 28-16" Ivo Pogorelich

74. "Polonaise in F-sharp minor" Brendel

< p>75. "Impromptu No. 2" Claudio Arrau

76. "Mazurka" Op. 63 No. 2 and 63 No. 3 Harasiewicz

77. "Nocturne" Op. 62 No. 1 Harasiewicz

78. "Spring" Corto

79. "Silent Night" Corto

80. "Introduction and Variations on a Theme by Moore" Vladimi&Vovka Ashkenazy

81. "Nocturne No. 16" Corto

82. "Nocturne No. 4" Corto

83. "Three Pieces" New Etude" Corto

84. "Etude Op. 25-7" Pollini

85. "Winter Wind Etude" Pollini

< p>86. "Butterfly Etudes" by Pollini

87. "Paganini's Theme from Venice" by Zilberstein

88. "Polonaise in C minor" cloth Lendl

89. "Eroica Polonaise" Corto

90. "Nocturne" No. 1 Pires

91. "Nocturne" No. 9. Pires

92. "Nocturne" No. 13. Pires

93. "Nocturne" No. 15. Pires

94. "Mazurka" Op. 33 No. 4. Shura .Cherkasky

95. "Nocturne" Op. 62-2. Shura. Cherkasky

96. "Don Juan": Let's hold hands "Bar" Shura Cherkasky

97. "Nocturne" Op. 27-2 Shura Cherkasky

98. "Waltz" Op. 34-3 Rachmaninov

99. "Girl's Wish" Rachmaninoff

100. "Piano Concerto No. 3" Kissin

101. "Piano Ballade No. 1" by Michelangeli

102. "Nocturne" No. 5 Camille Saint-Saens

103. "Polonaise" Op. 53 Ignacy Jan Paderewski

104. "Piano Scherzo No. 2" Horowitz

105. "Five Mazurkas" 2 Michelangeli

106. "Nocturne" Opus 37 No. 2 Novaes

107. "Nocturne" No.8 Barenboim

108. "Nocturne" No.20 Barenboim109. "Waltz No. 14" No. Waikisin

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p>108. "Waltz "Puppy"" Chen Sa

109. "Natural Andante and Gorgeous Polonaise" Idil Bir