Frederic Francois Chopin

Frédéric François Chopin , 1810-49, composer for the piano, b. near Warsaw, of French and Polish parentage. His lyrical, often melancholy, compositions brought romantic piano music to unprecedented expressive heights. A prodigy as a pianist and composer, he began performing at aristocratic salons in Warsaw, and in 1826 he started full-time studies at the Warsaw Conservatory. After concert appearances in Vienna and Munich, he settled in Paris, where he gave his first concert in 1831. Although he remained devoted to Polish culture and artists, he never returned to his homeland. In Paris he became closely associated with the principal composers, artists, and literary figures of his time. He was a virtuoso interpreter of his own works, but his dislike of playing in public made him prefer teaching and composing to the concert stage.

In 1836, Liszt introduced Chopin to Mme Dudevant, better known by her pen name George Sand , with whom he spent the winter of 1838-39 in Majorca; there, despite worsening pulmonary illness, he wrote his 24 preludes, which are counted among his finest compositions. The stormy affair with the novelist lasted until 1847, by which time Chopin's illness had developed into tuberculosis. He made a last concert tour through Great Britain in 1848.

Chopin established the piano as a solo instrument free from choral or orchestral influence. Even in the piano concertos in E Minor (1833) and F Minor (1836), the orchestra is completely dominated by the piano. Other major works include the sonatas in B Flat Minor (1840) and B Minor (1845), and two sets of études (1833, 1837). Because of their highly romantic quality, some of his works have become known by descriptive titles that he did not give them; they were published simply as nocturnes, scherzos, ballades, waltzes, impromptus, fantasies, and the like. Polish nationalism is evident in his many polonaises and mazurkas. His last concert was a benefit performance for Polish refugees, and at his funeral in Paris, Polish soil was strewn on his grave.

Bibliography: See his selected correspondence ed. by B. E. Sydow (1962); biographies by F. Niecks (2 vol., 1888, repr. 1973), H. Weinstock (1949), A. Walker, ed. (1966), J. Siepmann (1995), and T. Szulc (1998); studies by A. Gide (1949), A. Hedley (1957), D. Branson (1972), J. Samson (1985, 1996), and B. Eisler (2003).

Chopin, Frédéric François (1810–49) Composer for the piano, b. Poland. He gave his first recital in Warsaw at the age of eight. Political repression forced him to move (1831) to Paris, where he endeared himself in the salons. His restrained and delicate style contrasted strongly with contemporary trends. In 1836, Liszt introduced Chopin to the novelist George Sand. In 1838 the couple moved to Majorca, and he composed 24 préludes. Chopin composed almost exclusively for the piano and established it as a solo instrument. His major works include two piano concertos and three piano sonatas.

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Chopin, Fryderyk ( Franciszek Chopin) [ Frédéric François Chopin], (b Zelazowa Wola, 1810; d Paris, 1849). Polish composer and pianist (Fr. father, Polish mother). Began pf. studies with Zywny 1816 and played conc. by Gyrowetz in Warsaw 1818, by then being a favourite in the aristocratic salons. In 1822 began studies in harmony and counterpoint with Józef Elsner, dir. of Warsaw Cons. In 1825 his Rondo in C minor was pubd. as Op.1, though it was far from being his first comp. The next year, entered Warsaw Cons. as full-time mus. student, leaving in 1829. While student, wrote Krakowiak Rondo. In 1829 comp. his conc. in F minor and gave 2 concerts in Vienna. Played the conc. in Warsaw twice in Mar. 1830 and later in year played E minor conc. Left home late in 1830, travelling via Dresden and Prague to Vienna and giving many concerts. In Stuttgart heard that the Russians had captured Warsaw. Arrived Paris Sept. 1831; became pf. teacher to aristocracy, gradually renouncing public career and concentrating on composing. Gave first Paris concert in Feb. 1832 and no other in which he was the principal performer until 1841—it is reckoned he gave barely 30 pub. perfs. in his whole career. Became friend of most of outstanding musicians of day. In an essay taking the form of a discussion between Florestan and Eusebius, Schumann hailed the Là ci darem variations, Op.2, with the words ‘Hats off, gentlemen! A new genius!’ In 1836 Chopin met Fr. novelist George Sand and lived with her 1838–47. From 1836 the first signs of the tuberculosis that was to kill him appeared and the rest of his life was a constant struggle with sickness. After break with George Sand, perf. his E minor conc. in Rouen in March 1848 but left for London after the revolution, in need of money. Gave concerts in Manchester, Glasgow, Edinburgh, and London and returned to Paris to die in Oct. 1849.

Although Chopin's pf. mus. is beset with romantic stories and nicknames, he himself insisted on its existence only as absolute mus., hence the literal titles which refer only to mus. forms and are never picturesque, as in Schumann and Liszt. His own playing was both powerful and rhythmically subtle, with astonishing evenness of touch. Taking the name ‘nocturne’ from John Field, he transformed the form, as he did everything, by harmonic imagination and melodic distinction. There are bold, prophetic passages in his mus., ornamentation derived from his admiration for It. opera, and, in his Polish works such as the mazurkas and polonaises, a raw passion elemental in its strength. The Victorian conception of Chopin as a consumptive drawing-room balladeer of the kbd., a conception connived at by lesser pianists, has long been exposed as a false trail leading hearers away from the true, poetic, heroic Chopin. Prin. comps.:PIANO SONATAS: C minor, Op.4 (1828); B♭ minor, Op.35 (1839, Funeral March 1837); B♭ minor, Op.58 (1844).PIANO & ORCH.: conc. No.1 in E minor, Op.11 (1830); No.2 in F minor, Op.21 (1829–30); Variations on Là ci darem la mano, Op.2 (1827); Grande Fantaisie on Polish Airs, Op.13 (1828); Krakowiak Rondo, Op.14 (1828); Andante Spianato (1834); Grande Polonaise brillante in E flat, Op.22 (1830–1).PIANO: Ballade in G minor, Op.23 (1831–5), in F major/A minor, Op.38 (1836–9), in A♭, Op.47 (1840–1), in F minor, Op.52 (1842); Scherzo in B♭ minor, Op.20 (1831–2), in B♭ minor/D♭, Op.31 (1837), in C♯ minor, Op.39 (1839), in E, Op.54 (1842); 12 Études, Op.10 (1829–32), 12 Études, Op.25 (1832–6); 3 Nocturnes, Op.9 (1830–1), 3 Nocturnes, Op.15 (1830–3), 2 Nocturnes, Op.27 (1835), 2 Nocturnes, Op.32 (1836–7), 2 Nocturnes, Op.37 (1838–9), 2 Nocturnes, Op.48 (1841), 2 Nocturnes, Op.55 (1843), 2 Nocturnes, Op.62 (1846), 2 Nocturnes, Op.72 (1827, 1830); 24 Preludes, Op.28 (1836–9), Prelude in C♯ minor, Op.45 (1841); Valses, in A♭ (1827), in E (1829), in E♭ (1829–30), in E minor (1830), in E♭ (1840), in E♭, Op.18 (1831), 3 Valses, Op.34 (1831–8), in A♭, Op.42 (1840), 3 Valses, Op.64 (1846–7), 2 Valses, Op.69 (1835, 1829), 3 Valses, Op.70 (1829–41); Polonaises, in G minor (1817), in B♭ (1817), in A♭ (1821), in G♯ (1822), 2 Polonaises, Op.26 (1834–5), 2 Polonaises, Op.40 (1838–9), Polonaise in F♯, Op.44 (1840–1), Polonaise in A♭, Op.53 (1842), 3 Polonaises, Op.71 (1825–8); Polonaise Fantaisie in A♭, Op.61 (1845–6); 4 Mazurkas, Op.6 (1830), 5 Mazurkas, Op.7 (1831), 4 Mazurkas, Op.17 (1834), 4 Mazurkas, Op.24 (1834–5), 4 Mazurkas, Op.30 (1836–7), 4 Mazurkas, Op.33 (1837–8), 4 Mazurkas, Op.41 (1838–40), 3 Mazurkas, Op.50 (1842), 3 Mazurkas, Op.56 (1843), 3 Mazurkas, Op.59 (1845), 3 Mazurkas, Op.63 (1846), 4 Mazurkas, Op.67 (1835, 1846, 1849), 4 Mazurkas, Op.68 (1827–49); Berceuse, in D♭, Op.57 (1843–4); Barcarolle in F♯, Op.60 (1845–6); Boléro, Op.19 (1833); 3 Écossaises, Op.72 (1826); Fantasie in F minor, Op.49 (1841); Fantasie Impromptu in C♯ minor, Op.66 (1835); 3 Impromptus, A♭, Op.29 (1837), F♯, Op.36 (1839), G♭, Op.51 (1842); Allegro de concert, Op.46 (1832–41); Tarantelle in A♭, Op.43 (1841). 2 PIANOS: Rondo in C, Op.73 (1828).CHAMBER MUSIC: piano trio in G minor, Op.8 (1828–9); vc. sonata in G minor, Op.65 (1845–6); Introduction and Polonaise in C, vc. and pf., Op.3 (1829–30); Grand Duo in E on themes from Meyerbeer's Robert le Diable, vc. and pf. (1832).SONGS: 17 Polish Songs (1829–47).