Chopin and Other Musical Essays

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.

Chopin and Other Musical Essays

Chopin and Other Musical Essays - Forgotten Books

Chopin and Other Musical Essays | Frédéric Chopin | …

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.

Chopin And Other Musical Essays..

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 .

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Chopin was educated in the tradition of Beethoven, , Mozart and ; he used Clementi's piano method with his own students. He was also influenced by 's development of virtuoso, yet Mozartian, piano technique. He cited and Mozart as the two most important composers in shaping his musical outlook. Chopin's early works are in the style of the "brilliant" keyboard pieces of his era as exemplified by the works of , , and others. Less direct in the earlier period are the influences of Polish folk music and of . Much of what became his typical style of ornamentation (for example, his ) is taken from singing. His melodic lines were increasingly reminiscent of the and features of the music of his native country, such as .

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Frédéric Chopin - Wikipedia

There are many exceptions to these statements. The relationship of Impressionism to Romanticism is not entirely rebellious. For example, Debussy's only opera, (1902), can be regarded as a reaction against the heavy, over-emphatic music of Wagner's operas; yet many modern scholars see a logical link between the two, and Debussy much admired the great Romantic. Many of the people who loved Debussy's opera when it was first performed were fervent Wagnerites, like the famous novelist Marcel Proust.

Guitar Composers of the Classical and Early Romantic Period Circa 1780-1900 "

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