Frédéric Chopin


Born: 1810   Died: 1849   Period: Romantic
Frédéric Chopin has long been recognized as one of the most significant and individual composers of the Romantic age. The bulk of his reputation rests on small-scale works that in other hands would have been mere salon trifles: waltzes, nocturnes, preludes, mazurkas, and polonaises (the last-named two groups reflecting his fervent Polish nationalism). These works link poetically expressive melody and restless harmony to high technical demands. Read more Even his etudes survive as highly appealing concert pieces by emphasizing musical as well as technical values.

His birth date is a matter of controversy; the town registration of his birth specifies February 22, but Chopin always gave the date as March 1. His father was French, his mother Polish; he was raised in Warsaw by a family that mingled with intellectuals and members of the middle and upper classes, and as a teenager he spent two summers in the country, where he was exposed to Polish folk music. By the age of eight he was recognized as a child prodigy, performing in elegant salons and beginning to write his own pieces. Early on he studied composition with Josef Elsner, then took classes in various other music subjects as well as art and literature at the Warsaw Lyceum. In 1826 he enrolled at the University of Warsaw. He gave his first recital in Vienna in 1829, and over the next few years he performed at home and through much of German and Austria as well as in Paris. Feeling limited by Warsaw's cultural provincialism and uncomfortable with the publicity surrounding his performances there, he settled in Paris in 1832 and established himself as an exorbitantly paid piano teacher. In Paris he composed extensively, but limited his performances mainly to private salons.

In 1838 he began an affair with French novelist George Sand. The couple, along with Sand's children, spent a harsh winter in Majorca, where Chopin's health plummeted and he was diagnosed with consumption (tuberculosis). Chopin settled in with Sand in France, composing steadily although his increasing perfectionism slowed his output. By the mid-1840s, though, his health and romantic situation both had deteriorated. The affair ended in 1847 after, among other things, Sand had portrayed their relationship unflatteringly in her 1846 novel Lucrezia Floriani. Chopin then made an extended visit to the British Isles, but returned to Paris to die in 1849. Read less
Four Pieces - Four Pianos: Schubert, Chopin, Liszt & Stravinsky / Melnikov
Release Date: 03/09/2018   Label: Harmonia Mundi  
Catalog: 902299   Number of Discs: 1
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Chopin: Mazurkas / Mursky
Release Date: 03/02/2018   Label: Profil  
Catalog: 16100   Number of Discs: 2
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Chopin: Nocturnes / Dumont
Release Date: 03/02/2018   Label: Aevea  
Catalog: 17044   Number of Discs: 2
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Chopin: Complete Piano Music Vol 5 / Idil Biret
Release Date: 09/28/1999   Label: Naxos  
Catalog: 8554531   Number of Discs: 1
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Chopin: Complete Piano Music Vol 7 / Idil Biret
Release Date: 09/28/1999   Label: Naxos  
Catalog: 8554533   Number of Discs: 1
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Work: Nocturnes (3) for Piano, Op. 15: no 2 in F sharp major

About This Work
Although composed just a few years after the Op. 9 Nocturnes, Frédéric Chopin's three Nocturnes, Op.15 (dedicated to friend and fellow pianist/composer Ferdinand Hiller) show a distinct stylistic advance over the earlier group. The Read more emphasis on consummate mastery of the "salon" style, so crucial an element of the composer's earlier music, is abandoned in favor of a far more personal approach: here we can speak of the melodic contours and depth of feeling as being typically "Chopinesque."

The second piece of the Op. 15 set is perhaps the most famous, cast in the superbly pianistic (but still musically exotic) key of F sharp major. Here is a flawless miniature, equal to the composer's best efforts from his later years. In the hands of a capable performer the flowing opening melody has the power to transport audiences in a way seldom achieved by composers of even the highest echelon. The central Doppio movimento (double tempo) section grows from an initial sotto voce texture to a brief climax of fiery abandon, all the more evocative because of its extreme compactness, with a repetitive quintuplet figure (still a musical oddity in 1833) running throughout. The nineteenth-century German pianist and teacher Theodor Kullak remarked that the return of the heavenly opening theme "touches one like a benediction." Read less

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