Chopin: Preludes

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At Szafarnia (in 1824–perhaps his first solo travel away from home–and in 1825), Duszniki (1826), Pomerania (1827), and Sanniki (1828). [23] Meryl Streep's and Simon Helberg's characters play this piece together in a poignant moment in the 2016 film Florence Foster Jenkins. Kuhnke, Monica (2010). "Oryginalne kopie, czyli historia portretów rodziny Chopinów"[Original Copies, or the History of the Portraits of the Chopin Family] (PDF). Cenne Bezcenne Utracone (in Polish). 62 (1): 8–12 . Retrieved 28 March 2021. ( English summary) Jonathan Bellman writes that modern concert performance style–set in the " conservatory" tradition of late 19th- and 20th-century music schools, and suitable for large auditoria or recordings–militates against what is known of Chopin's more intimate performance technique. [196] The composer himself said to a pupil that "concerts are never real music, you have to give up the idea of hearing in them all the most beautiful things of art". [197] Contemporary accounts indicate that in performance, Chopin avoided rigid procedures sometimes incorrectly attributed to him, such as "always crescendo to a high note", but that he was concerned with expressive phrasing, rhythmic consistency and sensitive colouring. [198] Berlioz wrote in 1853 that Chopin "has created a kind of chromatic embroidery... whose effect is so strange and piquant as to be impossible to describe... virtually nobody but Chopin himself can play this music and give it this unusual turn". [199] Hiller wrote that "What in the hands of others was elegant embellishment, in his hands became a colourful wreath of flowers." [200]

Rowland, David, ed. (1998). The Cambridge Companion to the Piano. Cambridge: Cambridge University Press. ISBN 978-0-521-47986-8.

Polish composers of the following generation included virtuosi such as Moritz Moszkowski; but, in the opinion of J. Barrie Jones, his "one worthy successor" among his compatriots was Karol Szymanowski. [224] Edvard Grieg, Antonín Dvořák, Isaac Albéniz, Pyotr Ilyich Tchaikovsky, and Sergei Rachmaninoff, among others, are regarded by critics as having been influenced by Chopin's use of national modes and idioms. [225] Alexander Scriabin was devoted to the music of Chopin, and his early published works include nineteen mazurkas as well as numerous études and preludes; his teacher Nikolai Zverev drilled him in Chopin's works to improve his virtuosity as a performer. [226] In the 20th century, composers who paid homage to (or in some cases parodied) the music of Chopin included George Crumb, Leopold Godowsky, Bohuslav Martinů, Darius Milhaud, Igor Stravinsky, [227] and Heitor Villa-Lobos. [228] Majka, Lucyna; Gozdzik, Joanna; Witt, Michał (2003). "Cystic fibrosis– a probable cause of Frédéric Chopin's suffering and death" (PDF). Journal of Applied Genetics. 44 (1): 77–84. PMID 12590184. Hans von Bülow called the prelude "suffocation", due to its sense of despair. In fact, Chopin's last dynamic marking in the piece is smorzando, which means "dying away". But the prelude may have once been given a title. According to George Sand's daughter Solange, who stayed with the composer at the monastery in Mallorca when the preludes were written, "My mother gave a title to each of Chopin’s wonderful Preludes; these titles have been preserved on a score he gave to us." [1] That titled score is lost. But Solange did record the names of the preludes, apparently without assigning the names to the prelude numbers. [2] It is believed that the title "Quelles larmes au fond du cloître humide?" ("What tears [are shed] from the depths of the damp monastery?") corresponds to Prelude No. 4.

Atwood 1999, pp.412–413, translation of "Funeral of Frédéric Chopin", in Revue et gazette musicale, 4 November 1847. Smialek, William; Trochimczyk, Maja (2015). Frédéric Chopin: A Research and Information Guide (2nded.). New York: Routledge. p.144. ISBN 978-0-203-88157-6. OCLC 910847554. Petty, Wayne C. (Spring 1999). "Chopin and the Ghost of Beethoven". 19th-Century Music. 22 (3): 281–299. doi: 10.2307/746802. JSTOR 746802. Chopin's études are largely in straightforward ternary form. [180] He used them to teach his own technique of piano playing [181]–for instance playing double thirds ( Op.25, No.6), playing in octaves ( Op.25, No.10), and playing repeated notes ( Op.10, No. 7). [182] This piece is played in the opening scene of the second season of The 100, when Clarke is being held in quarantine in Mount Weather.

Etudes

In 1841 Léon Escudier wrote of a recital given by Chopin that year, "One may say that Chopin is the creator of a school of piano and a school of composition. In truth, nothing equals the lightness, the sweetness with which the composer preludes on the piano; moreover nothing may be compared to his works full of originality, distinction and grace." [192] Chopin refused to conform to a standard method of playing and believed that there was no set technique for playing well. His style was based extensively on his use of a very independent finger technique. In his Projet de méthode he wrote: "Everything is a matter of knowing good fingering... we need no less to use the rest of the hand, the wrist, the forearm and the upper arm." [193] He further stated: "One needs only to study a certain position of the hand in relation to the keys to obtain with ease the most beautiful quality of sound, to know how to play short notes and long notes, and [to attain] unlimited dexterity." [194] The consequences of this approach to technique in Chopin's music include the frequent use of the entire range of the keyboard, passages in double octaves and other chord groupings, swiftly repeated notes, the use of grace notes, and the use of contrasting rhythms (four against three, for example) between the hands. [195]