After Chopin: Essays In Polish Music

In the spring of 1834, Chopin attended the Lower Rhenish Music Festival in with Hiller, and it was there that Chopin met Felix Mendelssohn. After the festival, the three visited , where Mendelssohn had been appointed musical director. They spent what Mendelssohn described as "a very agreeable day", playing and discussing music at his piano, and met , director of the Academy of Art, and some of his eminent pupils such as , , and . In 1835 Chopin went to , where he spent time with his parents; it was the last time he would see them. On his way back to Paris, he met old friends from Warsaw, the Wodzińskis. He had made the acquaintance of their daughter in Poland five years earlier, when she was eleven. This meeting prompted him to stay for two weeks in Dresden, when he had previously intended to return to Paris via . The sixteen-year-old girl's portrait of the composer is considered, along with Delacroix's, as among Chopin's best likenesses. In October he finally reached Leipzig, where he met Schumann, and Mendelssohn, who organised for him a performance of his own oratorio , and who considered him "a perfect musician". In July 1836 Chopin travelled to and to be with the Wodziński family, and in September he proposed to Maria, whose mother Countess Wodzińska approved in principle. Chopin went on to Leipzig, where he presented Schumann with his . At the end of 1836 he sent Maria an album in which his sister Ludwika had inscribed seven of his songs, and his 1835 . The anodyne thanks he received from Maria proved to be the last letter he was to have from her.

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On Oct 1, 2000 Maja Trochimczyk published: After Chopin: Essays in Polish Music

After Chopin: Essays in Polish Music by Maria A

Although the two displayed great respect and admiration for each other, their friendship was uneasy and had some qualities of a love-hate relationship. believes that Chopin displayed a "tinge of jealousy and spite" towards Liszt's virtuosity on the piano, and others have also argued that he had become enchanted with Liszt's theatricality, showmanship and success. Liszt was the dedicatee of Chopin's Op. 10 Études, and his performance of them prompted the composer to write to Hiller, "I should like to rob him of the way he plays my studies." However, Chopin expressed annoyance in 1843 when Liszt performed one of his nocturnes with the addition of numerous intricate embellishments, at which Chopin remarked that he should play the music as written or not play it at all, forcing an apology. Most biographers of Chopin state that after this the two had little to do with each other, although in his letters dated as late as 1848 he still referred to him as "my friend Liszt". Some commentators point to events in the two men's romantic lives which led to a rift between them; there are claims that Liszt had displayed jealousy of his mistress 's obsession with Chopin, while others believe that Chopin had become concerned about Liszt's growing relationship with .

After Chopin: Essays in Polish Music

Chopin also endowed popular dance forms with a greater range of melody and expression. , while originating in the traditional Polish dance (the ), differed from the traditional variety in that they were written for the concert hall rather than the dance hall; as J. Barrie Jones puts it, "it was Chopin who put the mazurka on the European musical map." The series of seven published in his lifetime (another nine were published posthumously), beginning with the Op. 26 pair (published 1836), set a new standard for music in the form. His were also written specifically for the salon recital rather than the ballroom and are frequently at rather faster tempos than their dance-floor equivalents.

After Chopin: Essays In Polish Music
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Fryderyk Franciszek Chopin was born ..

Thus, in September and October 1939 composers – former Polish citizens who found themselves under the Nazi occupation – lost their sources of income as music critics, teachers at conservatories, conductors, artistic directors, music editors or simply as composers, by having their works performed. The careers of numerous talented composers of popular music also came to an abrupt end: they no longer received commissions from the Polish Radio, cabarets and theaters or for the previously flourishing recording and film industries (e.g., the famous “Syrena Record” company), because all of these organizations had been shut down.

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Chopin's music remains very popular and is regularly performed, recorded and broadcast worldwide. The world's oldest monographic music competition, the , founded in 1927, is held every five years in Warsaw. The of Poland lists on its website over eighty societies worldwide devoted to the composer and his music. The Institute site also lists nearly 1,500 performances of Chopin works on YouTube as of January 2014.

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The situation of composers who became former Polish citizens in September 1939 was defined by general policies and new jurisdictions introduced by the Nazi and Soviet authorities. Poland disappeared from the maps in 1939, divided into three parts: the General Government under German civil administration and military occupation, the Third Reich–incorporated territories and the USSR–annexed territories. The approaches to the inhabitants of these regions varied, yet their common feature was terror, directed first of all towards the intelligentsia. In the part of Poland that came under Soviet rule, arrests by the NKVD and deportations to Siberia were means of grasping control of the Polish population, but until June 1941, when these territories were seized by the Third Reich and incorporated into the General Government District of Galicia, musical institutions and schools still operated, even though their functioning was adapted to Soviet models and the most important positions were given to those who were willing to collaborate with the new regime.