LIFE
-1810-1849
-born in Warsaw, Poland (the national composer of Poland)
-father was a French teacher, mother was a Polish lady in waiting to a Countess (mother gave him piano lessons)
-musically gifted child, concerts at 6, began composing at 7, educated at newly established Warsaw Conservatory, summers in rural Poland learned about folk music and traditions
-poor health, frail throughout childhood
-capture of Warsaw by Russia, 1831 left for Paris at age 21-the centre of new Romanticism
-moved in a social circles of artists (Delacroix), writers (Victor Hugo, George Sand, Heinrich Heine), composers (Liszt, Berlioz, Rossini, Schumann) close to Liszt
-not as well received as a performer as Liszt-felt his music was conveyed better in more intimate settings vs concert halls
-financial support of a wealthy banking family, and other Polish aristocrats in Paris
-reserved, preferred teaching to performing and earned a good income teaching aristocratic familes
-very emotional and easily influenced by others
-1838 began a long term relationship with Aurore Dudevant, who wrote under th name George Sand-she dominated, he needed to be controlled
-summers were spent at Sand's Nohant, France estate-regular guests were prominent artists and writers; winters with Sand in Majorca, Spain
-very productive, but composing was laboured-he was quickly inspired, but then the process of writing, editing and modifying was consuming
-1846 relationship ended in jealousy, bitterness and hostility-Chopin felt by breaking this bond he had broken his life
-travelled to England and Scotland for performances
-died of tuberculsis
-funeral was attended by thousands, his b flat- piano sonata was used as the funeral march
-buried in Paris, but his heart was returned to Warsaw
-born in Warsaw, Poland (the national composer of Poland)
-father was a French teacher, mother was a Polish lady in waiting to a Countess (mother gave him piano lessons)
-musically gifted child, concerts at 6, began composing at 7, educated at newly established Warsaw Conservatory, summers in rural Poland learned about folk music and traditions
-poor health, frail throughout childhood
-capture of Warsaw by Russia, 1831 left for Paris at age 21-the centre of new Romanticism
-moved in a social circles of artists (Delacroix), writers (Victor Hugo, George Sand, Heinrich Heine), composers (Liszt, Berlioz, Rossini, Schumann) close to Liszt
-not as well received as a performer as Liszt-felt his music was conveyed better in more intimate settings vs concert halls
-financial support of a wealthy banking family, and other Polish aristocrats in Paris
-reserved, preferred teaching to performing and earned a good income teaching aristocratic familes
-very emotional and easily influenced by others
-1838 began a long term relationship with Aurore Dudevant, who wrote under th name George Sand-she dominated, he needed to be controlled
-summers were spent at Sand's Nohant, France estate-regular guests were prominent artists and writers; winters with Sand in Majorca, Spain
-very productive, but composing was laboured-he was quickly inspired, but then the process of writing, editing and modifying was consuming
-1846 relationship ended in jealousy, bitterness and hostility-Chopin felt by breaking this bond he had broken his life
-travelled to England and Scotland for performances
-died of tuberculsis
-funeral was attended by thousands, his b flat- piano sonata was used as the funeral march
-buried in Paris, but his heart was returned to Warsaw
STYLE
-composed only for piano-known as the poet of the piano (or piano plus voice/instrument)
-nationalistic compositions influenced future composers-Polish nationalist style in rhythms, harmonies, melodies and forms of Polonaise and Mazurka
-use of widel y spaced chords, sustained pedal, delicate ornaments, singing tone, improvisational quality, bel canto melodies
-chromaticism-innvative harmony, dissonant clashes, V 9, 11, and 13 chords, unresloved chords, modulation to unrelated keys-began breakdown of tonality that led to 20th century styles
-works remain central to the modern pianists repertoire-importance of etudes to broaden piano technique, virtuosic use of new piano technology
-credited with developing the Nocturne (after John Field) as a lyrical, meditative "night" piece
-use of rubato (robbed time) where the accompaniment/LH stayed strictly in time and the melody/RH borrowed (push and pull) for effect, but always balanced by the end of the phrase
-no literary influences
-nationalistic compositions influenced future composers-Polish nationalist style in rhythms, harmonies, melodies and forms of Polonaise and Mazurka
-use of widel y spaced chords, sustained pedal, delicate ornaments, singing tone, improvisational quality, bel canto melodies
-chromaticism-innvative harmony, dissonant clashes, V 9, 11, and 13 chords, unresloved chords, modulation to unrelated keys-began breakdown of tonality that led to 20th century styles
-works remain central to the modern pianists repertoire-importance of etudes to broaden piano technique, virtuosic use of new piano technology
-credited with developing the Nocturne (after John Field) as a lyrical, meditative "night" piece
-use of rubato (robbed time) where the accompaniment/LH stayed strictly in time and the melody/RH borrowed (push and pull) for effect, but always balanced by the end of the phrase
-no literary influences
WORKS
-miniature (single movement) forms, many Ternary A B A
-works catalogued by Opus (Opus Posthumous-after death)
-nocturnes-melancholy and meditative (non-virtuosic)
-preludes-visionary fragments, short pieces
-etudes-virtuosic piano technique, each devoted to a specific skill or figure
-impromptus, waltzes
-mazurkas (peasant), polonaises (court)- Polish national dances
-ballades-larger, epic forms
-fantasy, sonatas, concertos, Bercause, Barcarolle
-piano and orchestra: concerts in e- and f-, variations
-chamber music: cello sonata, piano trio
-songs for voice and piano with Polish texts
-works catalogued by Opus (Opus Posthumous-after death)
-nocturnes-melancholy and meditative (non-virtuosic)
-preludes-visionary fragments, short pieces
-etudes-virtuosic piano technique, each devoted to a specific skill or figure
-impromptus, waltzes
-mazurkas (peasant), polonaises (court)- Polish national dances
-ballades-larger, epic forms
-fantasy, sonatas, concertos, Bercause, Barcarolle
-piano and orchestra: concerts in e- and f-, variations
-chamber music: cello sonata, piano trio
-songs for voice and piano with Polish texts
TERMS
-chromaticism: when you have use of accidentals that aren's part of your home key
-rubato: flexible tempo, speeding up, slowing down for emotional effect
-rubato: flexible tempo, speeding up, slowing down for emotional effect