Schopen Biography Report

Mysterious, devilish, feminine, courageous, incomprehensible, understandable tragic Chopin. Richter according to A. Rubinstein, "Chopin is a bard, rape, spirit, piano soul." The most unique in Chopen music is associated with the piano: its trepidation, sophistication, “singing” of the entire texture and harmony, enveloping the melody of an overflowing air “haze”.

The whole multi -color of the romantic attitude, everything that usually required for its embodiment of monumental compositions of symphonies or operas, the great Polish composer and pianist expressed works with the participation of other instruments, human voice or orchestra at Chopin. Contrasts and even the polar opposites of romanticism in Chopin came into higher harmony: fiery enthusiasm, increased emotional “temperature” - and strict logic of development, intimate confidence in the lyrics - and the conceptuality of symphonic proportions, artistry, brought to aristocratic sophistication, and nearby - the primary purity of “folk pictures”.

In general, the originality of Polish folklore of his frets, melodies, rhythms saturated all the music of Chopin, which became the musical classic of Poland. Shopin was born near Warsaw, in Zhelyazov’s will, where his father, a native of France, worked as a home teacher in the count's family. Soon after the birth of Frederick, the Chopinov family moves to Warsaw. Phenomenal musical giftedness is manifested in early childhood, at the age of 6 the boy composes the first work of Polonaise, and at 7 acts as a pianist for the first time.

Chopin receives general education in the lyceum, he also takes the lessons of the piano game from V. The formation of a professional musician ends in the Warsaw Conservatory under the leadership of Yu. Chopin's giftedness manifested itself not only in music: from childhood he composed poems, played in home performances, and remarkably painted. For life, Chopin retained the gift of the caricaturist: he could draw or even portray someone with facial expressions that everyone accurately recognized this person.

Warsaw’s artistic life gave many impressions to a novice musician. The Italian and Polish national opera, the tour of the largest artists N. Paganini, I. Hummel inspired Chopin, opened new horizons in front of him. Often during the summer holidays, Frederick visited suburban estates with his friends, where he not only listened to the game of village musicians, but sometimes he played on some instrument.

Chopin's first composer experiments are the ominivated dancing of Polish life, Polonaz, Mazurka, Waltz, as well as Noktyurna-miniatures of lyrical-contemplative nature. He also addresses the genres, which formed the basis of the repertoire of the then-virtuoso pianists-concert variations, fantasies, rondo. The material for such works was usually topics of popular operas or folk Polish melodies.

Variations on the topic from the opera of V. Mozart “Don-Juan” met the hot response of R. Schuman, who wrote an enthusiastic article about them. The following words also belong to Schuman: “If a genius like Mozart is born in our time, he will write concerts more than Chopinovsky than Mozartovsky.” Elegic lyrics, related to the Russian romance of those years, are shaded by the brilliance of virtuosity and in a spring-wide folk-folk themes.

Mozartovsky perfect forms are imbued with the spirit of romanticism. During a touring trip to Vienna and the cities of Germany, Chopin overtook the news of the defeat of the Polish uprising of the GG. The tragedy of Poland became a strong personal tragedy, connected with the impossibility of returning to his homeland Chopin was a friend of some participants in the liberation movement.

As noted by B. Asafiev, "the conflicts that worried him focused on various stages of love languor and on the brightest explosion of despair in connection with the death of the Fatherland." From now on, the genuine drama of the ballad Sol Minor, Skerso Xinor, a pre-minor study, often called the "revolutionary" penetrates into his music. Shuman writes that "Chopin, introduced the Beethoven spirit into the concert hall." Ballad and scherzo are genres new for piano music.

Ballads were called detailed romances of a narrative-dramatic nature; In Chopin, these are large works of a poem type written under the impression of Ballad A. Mitskevich and Polish thoughts. The scherzo is usually rethought and the former part of the cycle-now it began to exist as an independent genre not at all comic, but more often-spontaneous and demonic content. The subsequent life of Chopin is connected with Paris where he enters the city in this stoopic center of artistic life Chopin meets people of art from different countries of Europe: composers G.

Berlioz, F. Liszt, N. Paganini, V. Bellini, J. Meyerber, pianist F. Kalkbrenner, writers G. Gane, A. Mitskevich, George Sand, artist, artist E. Delacroix, who wrote a portrait of the composer. Paris x XIX century - one of the centers of a new, romantic art, which was affirmed in the fight against academicism.According to Liszt, "Chopin openly stood in the ranks of romantics, still writing the name of Mozart on his banner." Indeed, no matter how far Chopin went in his innovation, even Suoman and Liszt did not always understand him!

The idols of Polish romance were Mozart, and especially I. Chopin was generally disapproving with his modern music. Probably, his classically strict, refined taste, which did not allow any sharpness, rudeness and extremes of expression, affected. For all secular sociability and friendliness, he was restrained and did not like to discover his inner world. So, he rarely and sparingly spoke of music, the content of his works, most often masked with some kind of joke.

In the studies created in the first years of Parisian life, Chopin gives his understanding of virtuosity as contrast to the art of fashionable pianists - as a means that serves as an expression of artistic content and inseparable from it. Chopin himself, however, performed little in concerts, preferring a chamber, more comfortable atmosphere of a secular salon to the large hall.

The income from concerts and musical publications lacked, and Chopin was forced to give lessons of the piano game. At the end of the year. Chopin completes the cycle of preludes, which have become a real encyclopedia of romanticism, reflecting the main conflicts of a romantic attitude. In the preludes - the most miniature plays - a special “density”, concentration of expression is achieved.

And again we see an example of a new attitude to the genre. In ancient music, the prelude has always been an entry to some work. In Chopin, this is a self -valuable play, which at the same time preserves some undeveloped aphorism and “improvisational” freedom, which is so consonant with a romantic attitude. The preludes cycle was over on the island of Mallorca, where Chopin took a trip to Georges Sand for the improvement of health, besides this, Chopin went to Germany from Paris, where he met with Mendelsson and Schumann, and in Karlsbad he saw his parents, and in England in the city of Shopin writes the second sonata Minor-one of his most tragic works.

Its part of the 3rd part - the “funeral march” - to this day has remained a symbol of mourning. Among other large works are ballads 4, scherzo 4, fantasy Fa minor, barcarola, sonata for cello and piano.

But the genres of romantic miniature were no less important for Chopin; New Noktyurnes appear in total OK. Mazurka enjoyed the composer’s special love. It is no coincidence that the last work of the Piano Piano was the mournful Fa-Minor Mazurka OR. The crown of all the work of Chopin was the third sonata of SI Minor, in which, as in other later works, the colorfulness, colorism of the sound is enhanced.

A deadly sick composer creates music full of light, enthusiastic and anxstatic merging with nature. In the last years of his life, Chopin makes a major tour of England and Scotland, which, like her previous breakdown of relations with Georges Sand, completely undermined his health. Chopin’s music is completely unique, while it influenced many composers of subsequent generations: from F.

Liszt to K. Debyussi and K., Russian musicians experienced “related” feelings for her: A. Rubinstein, A. Lyadov, A. Scriabin, S. Shopenovo art became an exceptionally whole, harmonious expression of a romantic ideal and luxurious, complete struggle, aspiration. To him. Zenkin Source: Creative portraits of composers, Chopin, Frederick Francishek Paul. FryDeryk Franciszek Chopin, also Szopen, fr.

The son of the Frenchman Nicolas Mikolai Chopin, a participant in the Polish uprising, a teacher of the French language, and the Polish of Justina Kshizhanovskaya. Chopin’s childhood and youth passed in Warsaw. At a very early age, he began to study the piano to play under the leadership of his mother and sister Ludwick, he selected all the melodies heard by hearing. Chopin's first teacher was the pianist and composer V.

Zhivnaya, Czech by nationality. The first works of 7-year-old Chopin were published-G-Moll Polonaise for piano, written under the influence of M. Oginsky, and a march for a wind orchestra, often performed in Warsaw in military views and parades.