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Mordasova, Catherine Ivanovna. Creative heritage F. Chopin in theory and practice of teaching music: the dissertation ... Candidate of Pedagogical Sciences: 13.00.02 / Mordasova Ekaterina Ivanovna; [Protection site: Mosk. State Humanitar. University. MA Sholokhov] .- Tambov, 2011.- 191 p.: Il. RGB OD, 61 11-13 / 1508

Introduction

Chapter 1 Creative Heritage F. Sopena as a complex of composer, performing and pedagogical aspects of activity - and its role in the process of studying a romantic piano style in performing classes 12

1.1 Contemporary is the state of the problem of studying works. Romantic style in musical pedagogy 12

1.2 Creative Heritage F: Chopin as an artistic and stylist phenomenon of the era of romanticism 35

1.3 Pedagogical principles f.Shopen and their relationship with its composer and performing creativity 76

1.4. Methods of integrated use of creative heritage F.Sopen 103

Chapter 2 Experimental study of the effectiveness of the integrated methodology) use of the creative heritage of F.Sopen when studying a romantic piano style 130

2.1 Pedagogical observations 130 "

2.2 Interviews and Iquisition 149

2.3 Forming experiment 155

Conclusion 171.

Bibliography 174.

Appendices 185.

The current state of the problem of studying works. romantic style in musical pedagogy

Professional musician is facing his activity? With the need to fulfill the music of various styles and eras. Confident. The orientation in various style zones is "necessary, the condition of professional activities of the musician: However, in the current situation on the performing school, a gradual waste of a new performing style from traditional values \u200b\u200bfor a romantic piano-style value provokes them to gradually loss, which inevitably affects the inevitability to the piano-naughty.

Considering the current state of the domestic music scene, it is necessary to note the following. Q: s. Gentity, analyzing the repertoire of pianists during the 20th century, in. Since some of the laws derived by him notes that "After World War II, the interest of pianists for the work of Chopin, Shuman and Sheet, whereas interest in the heritage of Bramsa, Rakhmaninov and Sonatas Schubert markedly increased," as well as what " writings of Debussy, Row, Bartock; Prokofiev entered the V.REpertouar of almost all major pianists, taking a permanent place in it. " It should be noted that the vision of expressive possibilities of piano by composers of the 20th century is built on a fundamentally different basis compared to the creative legacy of the authors of the preceding era. Based on the analysis, the researcher concludes about the presence in the piano repertoire: the policy of the 20th century two interrelated tendencies appear in a decrease in the "specific weight .-, emotionally bright and at the same time pianist-chicken pieces" and at the same time "in the displacement of the interest of artists towards such works that It is possible to execute with limited creating initiative and moderate rejuvenation of the mental strength "[ibid].

The possibility of creating the executive initiative is predetermined by the work style, the manner of its presentation. Thus, analyzing the prelude є-dur, I.є.Bach, 1 part of the Sonatas ES-DUR Iigaidna and Polonaz Fantasy Chopin as examples of musical works - various styles;, the author comes to the conclusion that the structure of the musical composition itself, the ECIS Determine the measure of such an initiative: "There is reason to assume that the product is monolithic internally than homogeneous software? The manner of presentation, the one, "less his stage fate depends on the Creacual Artist Initiative." The researcher also notes that the least monolithic. In this sense, just formed into a romantic era of the composition of free forms - fantasies; ballads, symphonic poems, etc. By virtue of the complex, organization of the structure of such writings, the expansion of their emotional range, complications, forms and other conditions, they necessarily require the performer, the greatest creating initiative, personal participation of the Contractor in creating a work during its execution.

A.A.Kadinsky-Rybnikov comes to similar conclusions regarding "the executive art of the 20th century, but considers them in several other perspectives. Thus, the researcher establishes an approximately the same temporary border of the completion of the era of romantic and performing arts; What- and in: S.Gritsevich is approximately the middle, the XX century. A.A. Kandinsky-Rybnikov emphasizes significant progress in terms of stylistic "expansion and universalization of the modern performing repertoire. At the same place in it, the works of composers-romantics - the author: "The repertoire did not become anti-agantic, the romance ranks in it even first place (itals our. - E.M.). But now it is caused primarily by the fact that the piano literature is hardly more than half consists of the works of romantics. " The second important feature of the modern performing scene, the researcher considers the increased historicity in, approaches to the interpretation; And as a result, the emergence of the direction "Explorer", i.e. A musician performing ancient music on authentic tools and studying the problems of its interpretation. Another manifestation of increased historicity, the author considers the principle, building concert programs, often based on the exposure of any direction; Genre, IG ED \u200b\u200bstyle, i.e. Strengthening the art historical element in modern executive culture than, according to the scientist, and "its increased intellectuality, which made" less frequent and less frank manifestations of improvisation. From here, in general, smaller than. Before, the dependence of the game of artists from direct contact with the audience, and the desire and ability to record plates inherent to most of them.

In turn, N.G.Prach in the work devoted to the consideration of the style trends in the second half of the 20th century; It highlights such directions as Neoclassicism, neuromantics and folklorism. Among these styles, according to the researcher, neoromantism as such, "extensively" develops, to a greater extent choosing the novelty of the fulfillmental expressiveness of other style trends in the executive style of the second half. XX century. " Despite the fact that N.G.Prach indicates the features characterizing the neoromantic performing style, the improvisational manner of execution of the fixed text, as well as the desire to "not lose emotional supports in the interpretation" [there], in the future the author emphasizes "Philosophicity and Cultural orientation ... Intellectual approach to the interpretation process of the piano work; Typical for performing neoromantism (authoring author. - E.M.) Second1 half of the XX century. " Thus, the neoromantic direction experienced, as already mentioned, a significant influence of other style trends in the performance.

However, not only the emergence of new composer names, but also the activities of the perpetrators of the pace, dynamics, aggohics inherent in romantic art, had an impact on the performance scene, but also the activities of the pseudoromantic properties in their interpretations. Such performers have largely compromised the romantic musical culture in the "eyes of listeners. Not least with this phenomenon, memories of one of the prominent chopotists of A. Korovsky are connected: "At the request of the formation of my musical taste; From 1908 half a year 1915, I was surrounded by the musicians, whose shopin was not in honor ... With the hotness and exaggeration, peculiar to youth, we considered the music of Chopin outdated, old-fashioned, ordinary, sweet; In short - banal. " A similar perception of creativity of one of the largest romantic musicians was connected, undoubtedly, not with the content of his work, but with his interpretation with musical figures from pseudo-monothy.

Creative heritage F: Chopin as an artistic and stylist phenomenon of the Romantic Epoch

In order to find out why the works of the romantic era require the most "co-creation" from the performer and, as a result, emotional flexibility, it is necessary to consider the features of romanticism not only - like a musical style, nosh like style. Especially, as a whole, remember As the musical execution of pedagogykash changed, this era. Romanticism is known in the encyclopedic literature as ideological in the artistic direction in the European and American spiritual culture of the end of the XVIII - 1st half of the 19th centuries: however, in its content-romantic style, he was distinguished by significantly less monolithium compared to the chronologically preceding styles, and representing the wide The circle of ideological and aesthetic trends in which the historical situation, the country, the interests of the artist created certain accents, determined various goals and means. " Despite this, the romantic art is inherent and important common features relating to both ideological positions; So the predisters.

Materials of large-scale research of romanticism allow you to characterize this empty in the following way. Romanticism was a kind of reaction to the achievement of the preceding, the era of the Enlightenment, the negative consequences of scientific, economic, social progress, which brought new contrasts and antagonism, as well as the bundle, the spiritual devastation of the individual, the loss of its meaning. Inheritance. The arts of the Middle Ages, Spanish Baroque and English Renaissance, romance revealed extraordinary complexity, the depth and anticinence of the internal, subjective world of a person, the immanent individual personality infinity. The essential features of romantic art as a whole are intense interest in strong and vivid feelings, all-consuming passions, to the secret movements of the soul, to intuitive and unconscious. At the same time, for romanticism, the defense of the freedom and self-satisfaction of the individual, the cult of individuality, both a separate person and the "whole nations and an era, which predetermined the value of the folklore in the time period described.

In the field of aesthetics, romanticism opposed the creative activity of the artist, the transformation of the real world for the classical art of "imitation of nature". The manifestations of these processes in the romanticism were the openness of literary genera and genres, the interpenetration of the arts, synthesis of art, philosophy, religion. In the visual? Romanticism manifested most brightly in painting graphs, less clearly in sculpture.

Like any phenomenon; The concept of style1 is possible to consider from different points of view. In any, the work of the art style is a generating start, "the highest form of art unity" [South, 10]. Artistic (in that4 of the music) style affects the formation of creative thinking, but also creative thinking expresses through the style. Thus, according to thought / L.A. Mazel, it is possible to characterize the style as a system of musical thinking, which includes both the content and means of musical expressiveness.

Style in music is a hierarchical concept. So, MK Mikhailov allocates such stylists as historic style, (era style), direction style and individual style. The style of the era covers works that arose within the deterministic time segment. The direction of the direction characterizes the features that distinguish existing in the framework of the historical style, schools, etc. Individual style, that is, the style of a particular composer is the basis, the primary element of the above-described collective style levels and has a significant impact on them.

Thus, the style in relation to the creativity of the composer is some formative factor; On the other hand: Parties and itself is influenced by the individual creative activity of the composer, what "gives grounds? talking about the integrative unity of the style of the VI Music Art W Creative; manners of a particular composer; belonging; To: this direction? Єamіstil by the author; manifests itself through the system, stylistic signs; - general patterns; lying at the heart; his musical thinking / such patterns may be inherent in the style of everything, however? "Is it an embodiment of separately? taken, the author wears the imprint of his individual vision;

Romanticism; Like, style - epochs! Is a sufficiently difficult question.: Creativity? composers; attributed to romantic style, has. Significant differences not only - individually alone? level, but f and?, in school styles, directions; And, also with respect to the national element of the musical? Creation of Dako? . M whole-. undoubtedly; Is there a certain system? stylistic signs; allowing you to determine "romanticism as the style of the era; The complexity, and ambiguity, romantic style is reflected: in its periodization; Including: Early Romanticism, Related; continuity with the preceding; classic style (the first twentieth anniversary of the XIX century); Middle Etch (from Zoh up to 80s: XIX: B;) and the next income later stage; During which it is carried out5 transition, to, subsequent style. Models .. This periodization is sufficiently conditional;. ONODA allows you to get an idea: about development? musical romantic style, and accompanying changes [see 38];

In the musical; art showed common trends for romantics to the program, to contact music: with the word, to more: a close combination and interpenetration of the properties of vocal and instrumental genres, the desire to bring the expressiveness of the melody to the expressiveness of the intonation of live speech. Romantic music is significantly different from the preceding music of the Vienna Classical School; It is less generalized in content, it displays validity not in an objective and contemplation, but through, individual, personal experiences of a person (artist) in the whole wealth of their shades.

Pedagogical principles of F.Sopen and their relationship with its composer and performing creativity

The pedagogical "activities of Chopin paid considerable attention in the works of authoritative biographers of the composer [see fifteen; 56; 65; 103; 108; 128; 131-132], the attack of the musicians who investigated the features of its pedagogical1 method. Innovative Chopin's pedagogical system for its time with necessity, reflected the views of the composer on, maintaining musical works. In his own essays, musical means are determined by the idea, and, in turn, determine the technical side as a means of implementing this idea. However; The formation of 15 pedagogical attitudes is associated primarily with performance. Where he arrived, being the performer already established:

Since significant fame in Paris Chopin acquired precisely as a pianist-virtuoso, it was this side of his talent attracted a lot to him? Those who want to study in him a piano game. Executive talent of Chopin, associated with its composer talent; allowed him to master the extremely appropriate and efficient piano technology; which and-implemented in, the process of his occupation? with students. In addition, the reflection of this technology can be observed in the texture of Schopin Works, which will be discussed.

Regarding the original performers' appearance of Chopin, it should be noted that it was formed. In a significant mean, due to its "huge-cryonic gifting as a composer. In various biographies of the composer, it is described as he, being also a baby, at night he saw on the piano of the play, who his mother played during the dance lessons; Schopin held in the boarding house. Reading notes and initial techniques of Application Chopin taught his sister Ludwick. Although Chopin studied for six years at V. Lell, in a large extent his performing staff was formed as a result of its active inner hearing. While learning, Chopin began improvising, fantasizing the topics of those musical impressions that received from every day. It is the activity of inner hearing inherent in musical talent; Chopin; contributed to the formation of listening and motor connections; ., ... as a result, optimal gaming, movements;, outgoing: from self-making musical content :,

DKKrnarskaya? in work; dedicated to the genesis of musical abilities; Notes: "The leading-role of hearing in the occurrence; The listeur motor connected to that. What are these: connections? Easy "are formed - music; itself; contains in? yourself optimal movements; Her expressing, they are encrypted into her; intonation form ;; in; Its rhythmic drawing (italics ours; -e.mf) "1 The giftedness of the chopin-composer allowed; Chopin-performer; How to adequately respond in your game for requirements? melodies, rhythm; intonation; Since the learned; Img musical; logics? Played works) behaved? novice musician, for \\uisa; Tuping him that the car must be played.

Q: Conrad in large-scale work dedicated to individual style elements? music? composers; Different: epochs; Also: noted that a single researcher of Chopinovsky, creativity was not possible and failed to divide the meaningful; The beginning and instrumental and technical side in its writings. The scientist "points to that;. What a shopch from the early, years was distinguished by the instinctive ingenuity of the i in relation to the search for various sounds and techniques; games on the piano, and this ingenuity was inseparable from its composer talent; [see 129; 189]: Something, that the process of playing Chopin managed hearing and musical imagination, allowed him to become a virtuoso; - whose talent was recognized; not only in Warsaw, but also in such sophisticated musical capitals, like Vienna and Paris. It is interesting that E. Whiteside in a book dedicated to The study of Schopin etudes, also notes that the pianist when working on these essays should always be remembered: natural gaming movements are much more effective than game techniques, carefully spent on separate details. The nature of the musician will use the game apparatus entirely in response to the desire to achieve a certain sound result [see 134, 26]. Natural; organic virtuosity of Chopin took place from plastics of a musical image, It did not require this to maintain it at the proper level, as it was prescribed in many methodological guidelines Tych Epoch, long hours of classes filled with endless repetitions of technically difficult places. In confirmation of what was said to refer to the letter of the composer's father, dated November 1831, in which he questioned the recommendation of Calcbrenner to go under his beginning the three-year course on improving the pianistic technique of Chopin. Recalling the Warsaw of the composer, his father wrote that the classes on the instrument of Chopin paid a relatively a bit - time, preferring mental tension to physical, while he managed to learn from other works within one hour, while others spent on the keyboard entire bottom. 133]. Penetration into the musical image of the essay allowed Chopin to learn even other things in the most "appropriate, based on their musical logic.

Later, being an already practicing teacher in Paris, Chopin stopped the many hours of his students, carefully considering that the desired result can be achieved in much more short time, and the extra watches carried out by the instrument prove only that the student 5 does not understand what follows Pay attention to occupations. Chopin realized well that virtuosity as an optimal way of action for a tool, which allows to play quickly and accurately depends on time; Conducted by the instrument, and on how much hearing and imagination leads to the movement of the game apparatus. Thus, it is most advisable to organize the game of the game on Piano Chopin helped that the production of his hands, like the manner of the game as a whole, was the "lint-dependent".

Methods of integrated use of creative heritage F.Sopen

Modern educational process, subordinate to the subject and meaningful principle. The attitude of both in common and special education, inherited from the field of scientific development such a historically established characteristic, as an increase in differentiation, scientific directions. In the "scientific sphere, the result of such strengthening was the priority of technocratic goals and a decrease in the importance of humanistic goals. However, the compensation of the described process in science is possible due to the synthesis of various directions, which allows the scientist to carry out consistent with the general cultural categories.

Culture acts in the development of science and technology to the most important-regulating element, being, the basis for ethical evaluation of the results of this development. However, in modern higher education; Few components are aimed at the formation of moral ethical positions, whose string of which is possible. Education system, following parallel development of science through; As a result, it was also in a situation where intellectual development entered the fore, leaving in the shadows, other aspects of personality formation. The increasing role of "technical progress led to the dehumanitarianization and dehumanization of education, departure from the idea of \u200b\u200bforming moral, personality.

Under the conditions of the humanitarian - the worldview of the main task of the personality is to determine the meaning of what is happening, the ability to independently judgment, the choice, actions. In the context of the humanitarian educational paradigm, the ability to understand and sensemaking is one of the main, depth traits of a person. The possibility of the development of such ability is achieved through humanization - an animation - the entire structure of modern education; The humanization process, in turn, is carried out through humanitarianization, that is, the study of the objects of the humanitarian cycle and the introduction of humanitarian methods of disclosure of objects.

Under the humanitarization of education is a system of measures aimed at the priority development of general cultural components in the content of education and thus on the formation of personal maturity of the student:

The most effective impact of the humanitarian "medium is possible through humanitarianization of education. If humanization of education implies the formation of an educational system that meets humanistic values, then humanitarianization of education, in turn, characterizes the new quality of learning related to the teaching and methodological content of teaching aimed at the introduction of students? To humanist / values.

In modern information society, information as such can be presented using modern computing capacities in a wide variety of aspects, which helps to comprehensively explore the object under consideration or phenomenon. The integrated in a different way information, however, can lead to diametrically opposite conclusions, which further enhances the value of the critical, independent evaluation of the data proposed. Without an assessment, in turn, it is impossible to understand any phenomena, because, as it rightly notes M: M. Bachtin, understanding and evaluation are simultaneous and constitute a single holistic act [cm: 9]: Understanding, in, turn, it becomes special The role as a way of an advanced organization8 knowledge based on objectivity, meaningfulness and integrity of all human activity. However, modern educational practice is characterized by learning from skills and knowledge, and not the disclosure of the substantive side itself.

The objectives of humanitarianization of education are to overcome the eternality of the human person, determined by vocational training, as well as the formation of a student of the humanistic worldview as a means of introducing a young man into the sphere of spiritual and cultural values \u200b\u200bas countering the negative consequences of a narrow specialization.

Understanding as the necessary condition for the assessment requires active. Incidentally, the emotional-volitional sector: "Many centuries of the human race develop only mental abilities. In this case, the emotional, the world is becoming more and more poor ... It is impossible to achieve huge results in education, affecting the human mind. The sphere, feelings makes it possible to give inconspicuous information existential, trepidative; Human meaning. A understanding comes through NEG, which is tightened to himself the unwarked world of the soul "man."

Due to the fact that emotions are expressed in generally, the direct predensive sense of phenomena, their main function is an assessment. Emotions assess the subjective importance, reflected objects and events, express it, signalize the subject. In domestic psychology, the emotional processes, a person studied significantly less intensively than cognitive processes. IN? particular, hp Vygotsky in its works is developing dialectical and materialistic approach to the psychological study of emotions and feelings, believing necessary consideration of the emotional side in a dialectical interconnection with intelligence; The scientist was based on the following views: "Who touched the thinking, from the very beginning from the affect, he forever closed his way to explain the causes of the most thinking, because the deterministic analysis of thinking must imply an autopsy of the driving motives of thought, needs and interests, motives and trends that direct The movement of thought in the one or the other side. "

The idea of \u200b\u200bthe unity of cognitive and emotional processes permeates all works by S.L. Rubinstein, finding an expression in the conclusion about the unity of emotional and intellectual in emotions. The scientist also noted the need to bind thinking with an affective sphere of man, pointing out that mental processes are both cognitive and emotional-wielding side, expressing, not only g knowledge of phenomena, but also the attitude towards them: "Speech ... It is not about that only that emotion is in unity and interconnection with intelligence or thinking with emotion, but what kind of thinking as a real mental process is already? The unity of intellectual and emotional, and emotion is the unity of emotional and intellectual. "

Quote communication Frederick Chopin | Genius of piano music. ("Chopin-thirst for love" (2002) Biographical film.)

Chopin's creativity is a huge world of extraordinary beauty. Listening to him forget that listening to just one tool - piano. Unlimited windows open before you, windows are opening into unknown gave, full secrets and adventures. And I really want this new, newly opened world, never left you.

(Anna Herman - Letter Chopin)

Frederick Chopin (Polish. Fryderyk chopin, born. Village of Zhelyazov-Wola, near Warsaw) - Polish composer and pianist virtuoso. The author of numerous works for piano. The largest representative of Polish musical art. Many genres interpreted in a new way: he revived the prelude on a romantic basis, created a piano ballad, opoethized and dramatized dancing - Mazurka, polonaise, waltz; I turned the scherzo into an independent work. Enriched harmony and piano invoice; Combined the classical form with melodic wealth and fantasy.

Freedearch Chopin was born not far from Warsaw, the capital of Poland, in the town of Zhelyatovska will.

Justina Shopin (1782 - 1861), Mother of the composer.Nicola Shopin (1771 - 1844), Father of the composer

Mother Chopin was polka, father - Frenchman. Family Chopin lived in the estate of Skarbek, where his father served as a home teacher.

After the birth of the Son Nikolai Chopin received a teacher's place in Warsaw Lyceum (secondary school), and the whole family moved to the capital. Little Chopin grew surrounded by music. His father played a violin and flute, mother sang well and played a little on the piano. Along not know how to speak, the child began to cry out loudly, as soon as he heard the singing of the mother or the game of the Father. Parents believed that Friedarch did not like music, and they were very saddened. But soon they were convinced that it was not at all. By five years, the boy has already confidently performed simple plays, operating under the guidance of the older sister Ludwiki. Soon his teacher was famous in Warsaw Czech Musician Wojcih Vibrant.

Warfish West (1782 - 1861), the first teacher who taught Friderik Chopin to the piano game

A sensitive and experienced teacher, he instilled his student love for the music of classics and especially the works of I.S. Baha. Keyful preludes and Bach fugues later always lying at the composer on the desktop. The first speech of a small pianist took place in Warsaw when he was seven years old. The concert was successful, and the name of Chopin soon recognized the whole Warsaw. At the same time, one of its first essays was published - polonais for Piano Sol-Minor. The executive talent of the boy developed so quickly that Chopin did not inferlude the best Polish pianists for the twelve years. Live abandoned classes with young virtuoso, stating that nothing else can teach him. Simultaneously with the music of music, the boy received a good general education. Already in childhood, Friederik freely owned French and German languages, was vividly interested in the history of Poland, I read a lot of fiction. Thirteen years he entered the lyceum and after three years he successfully finished him. During the years of exercise, the versatile abilities of the future composer appeared.

The young man drew well, he was especially able to cartoons. His Mimic Talent was so bright that he could become a theater actor. Already in the young years, Chopin was distinguished by a sharpness of the mind, observation and great curiosity. Since childhood, Chopin showed love for folk music. According to the stories of his parents, during country walks with his father or comrades, the boy could stand up under the window of any hut, from where folk tunes came. According to the summer on vacation in the estates of his comrades on the lyceum, Frianarch and himself took part in the performance of folk songs and dance.

Singer Angelica Catalani (1780 - 1849) Golden watches F. Chopin with the words "Mrs. Catalani (Fritronik Chopin Ten) in Warsaw. 3. 1. 1820 "

Over the years, folk music has become an integral part of his creativity, it was cried with his being. After graduating from Lyceum, Chopin entered the Higher School of Music. Here his classes were led by an experienced teacher and composer Joseph Elsner. Elsner very soon realized that his student is not just talented, but ingenious. Among his notes, a brief description was preserved, given to the young musician: "Amazing abilities. Musical genius. " By this time, Chopin was already recognized as the best pianist of Poland. Reaching maturity and his talent of the composer. This is evidenced by two concerts for piano with the orchestra, composed in 1829-1830. These concerts invariably sound and in our time and are the favorite works of pianists of all countries. At the same time, Friderik met the young singer Constance of Gladkovsky, who studied at the Warsaw Conservatory. Gladkovsky was destined to become Freerrik's first love. In a letter to his friend, Wojcuchovsky he wrote:
"... I can, perhaps, unfortunately, there is already my ideal to which I rightly serve, not talking to him for half a year that I dream, the memories of which adagio my concert, who inspired me to write this morning This Waltsh sending you. "

Constance Gladkovskaya (1810 - 1889) Singer of the National Theater in Warsaw. Miniature Anna Chamets, made in 1969 in the drawing of Mozhochi Gerson

It was under the impression of this youthful feeling of love Chopin composed one of the best songs "Desire" or "If I shine in the sky shine." In 1829, a young musician drove into Vienna for a long time. His concerts were huge success. Chopin, his friends and relatives realized that he should go to a long concert tour. Chopin could not decide on this step for a long time. He was tormented by bad premonitions. It seemed to him that he would forever leave his homeland. Finally, in the autumn of 1830, Chopin left Warsaw. Friends gave him a farewell cup filled with Polish Earth. Touching his teacher Elsner.

Joseph Elsner (1769-1854), teacher Frederik Chopin on the theory of music and composition

In the outskirts of Warsaw, where Chopin was drove, he, together with his students, performed a choral product specifically written to them. Chopin was twenty years old. Happy youthful time, full of searches, hopes, success, ended. Premonitions did not deceive Chopin. He broke up with his homeland forever. I remember a good reception provided to him in Vienna, Chopin decided to start his concerts there. But, despite the strengthened troubles, it was not possible to give an independent concert, and publishers agreed to print his works only for free. Suddenly, anxious message came from the Motherland. In Warsaw, an uprising began against Russian autocracy organized by Polish patriots. Chopin decided to interrupt the concert tour and return to Poland. He knew that among the rebels - his friends, maybe father. Indeed, in the days of youth, Nicola Shopin took part in the national uprising under the leadership of Tadeusus the costume. But relatives and friends persistently advise him in letters not to come. People close to Chopin are afraid that pursuit can touch him. Let it be better to stay free and serves his homeland with his art. With bitterness, the composer opated and headed to Paris. On the road, Chopin was overtakingly stolen his news: the uprising is brutally depressed, his leaders are thrown into prisons, exiled to Siberia. With thoughts about the tragic destinies of the Motherland directly related to the most famous Schopin etude, called the "revolutionary", was directly connected. It was embodied in the spirit of the November uprising, as well as anger and grief. In the autumn of 1831, Chopin arrived in Paris. Here he lived until the end of his life. But France did not become the second homeland composer. And in their attachments, and in his work, Chopin remained Pole. And even his heart after death, he bequeathed to be taken to his homeland. Chopin "won" Paris first as a pianist. He immediately struck the listeners a peculiar and unusual performance.

Friedrich Calcbrenner (1788 - 1849). From the lithograph of Richardi. German pianist, composer and teacher. From 1824 he lived in Paris, where he was considered the most outstanding teacher of the piano game.

At that time, Paris was flooded with musicians from various countries. Pianists-virtuosos were the most popular: Calcbrenner, Hertz, Giller.

Ferdinand Giller (1811 - 1885) - German pianist, composer, conductor, music. Theorist, historian of music and critic; Founder of the Cologne Conservatory. Was associated with F. Chopin hot friendship (there is a bronze medal, which depicts Chopin and Giller)

Their game was characterized by technical perfection, brilliance, stunned the public. That is why the first concert speech of Chopin sounded with such a sharp contrast. According to the memories of contemporaries, his execution was amazingly spiritualized and poetic. The first concert of Chopin has survived the memory of the famous Hungarian musician Ferinets Sheet, who also started his brilliant path of the pianist and the composer at that time: "We remember his first performance in the Pleyel Hall, when the applause, the incurrence with a doubled force seemed to not enough to express our Enthusiasm in the face of talent, which, along with happy innovations in the field of his art, opened a new phase in the development of a poetic feeling. "

F. Sheet (1811-1886)

Chopin conquered Paris, how once conquered Vienna Mozart, Beethoven. Like a sheet, he was recognized as the best pianist of the world. At the concerts, Chopin was mostly performed by his own writings: concerts for piano with orchestra, concert Rondo, Mazurki, etudes, nocturnes, variations on the Opera Mozart "Don Juan". It was about these variations that the outstanding German composer wrote and critic Robert Schuman: "Shadow's caps, gentlemen, before you a genius."

Music Chopin, like his concert speeches, caused universal admiration. Only musical publishers waited. They published the works of Chopin, but, as in Vienna, for free. Therefore, the first editions did not bring Chopin income. He was forced to give music lessons at five to seven hours daily. This work provided it, but took too much time and effort. And even subsequently, being a composer, with a world name, Chopin could not afford to stop these so much extinguishing his classes with students. Together with the growing popularity of Chopin as a pianist and the composer, the circle of his acquaintances is expanding.

F. Chopin among famous pianists of his time (1835). From left to right: stand - T. Deller, Ya. Rosengean, F. Shopin, A. Drayshok, S. Talberg; Sit - E. Wolf, A. Genzelt, F. Sheet.

Among his friends is a leaf, an outstanding French composer Berlioz, French artist Delacroy, German Poet Heine. But no matter how interesting are new friends, he always prefers to his compatriots. For the sake of a guest from Poland, he changed the strict order of his working day, showing him the sights of Paris. For hours, he could listen to the stories about the Motherland, about the life of relatives and friends.

With youthful insatiability enjoyed the folk Polish songs, and I often wrote music to the verses liked. Very often, these poems, turned into songs, fell back to Poland, became the property of the people. If a close friend came, the Polish poet Adam Mitskevich, Chopin immediately sat down for the piano and played for his clock. Forced, like Chopin, to live away from homeland, Mitskevich also wandered on it. And only the music of Chopin slightly weakened the pain of this separation, endured it there, far away in his native Poland. It is thanks to Mitskevich, the influsted drama of his "Conrad Wallen Star", the first ballad was born. And the second Ballad of Chopin is associated with the images of Mitzkevich's poetry. Meetings with Polish friends were especially the way to the composer and because Chopin had no family.

His hope is marrying Maria Vodzinskaya, the daughter of one of the rich Polish nobles was not realized. Mary's parents did not want to see their daughter married to a musician, at least world famous, but mining to life for life. For many years, he has connected his life with the famous French writer Aurora Dudevan, who served in the press under the pseudonym George Sand.

Judging by the "musical portrait" of the Constance of Gladkovskaya and Maria, Khopin, Chopin exceeded the charm of purity created by his imagination. In George Sand, it was possible to find anything, but not that. By that time she used a scandalous reputation. Chopin could not help but know it. But the leaf and his girlfriend Marie D "AGU highly appreciated the literary gift Georges Sand and that was talking about this with Chopin and Mitskevich, emphasizing that they appreciate it primarily as a writer. They also contributed to the appearance of Georges Sand at Music evenings in Chopin.

Georges Sand.

It must be said that about the history of the relationship of Chopin with Georges Sand is not so much reliable information. Not everyone agrees with Georges Georges, depicting the guardian angel Chopin in front of his friends and described them with their "self-sacrifice" and "maternal concerns" about the composer. The sheet in the book, published in the life of Georges Sand, very unequivocally accused her that it was she who was the cause of his untimely death. Wojca Ghezala, one of the nearest friends of Chopin, also believed that George Sand, "which poisoned all his existence," was the culprit of his death. The "poisonous plant" called her Wilhelm Lenz, the disciple of Chopin, to the depths of the soul, resentment, how bravely, arrogantly and dismissively appeared George Sand with Chopin even in the presence of outsiders. Over the years, Chopin gave concerts more and less, limited to execution in a narrow circle of friends.

He surrendered entirely to creativity. His sonatas, scherzo, ballads, impromptu, new series of etudes, poetic nocturns, preludes and still beloved Mazurks and Polonaisa are appeared. Along with light lyrical plays, the works, full of dramatic depths, and often tragedy, were increasingly from under his feather. Such is the second sonata, with a funeral march, belonging to the number of higher achievements of the composer, all Polish music and romantic art as a whole. Yuzef Khominsky, characterizing the first two parts of the Sonata, said: "After the heroic struggle, the funeral march is already obviously the last act of the drama." Chopin considered the funeral march as an emotional result, dramatically finalizing images. We have the right to name this drama, the images of which are deployed in Sonate Chopin, the national tragedy. The funeral march of Chopin is recognized as the most prominent work of this genre. This march took a special, exceptional place not only in the musical literature, but also in the life of humanity, for it is difficult to find a more sublime, more beautiful and more tragic embodiment of the feeling of grief. The life of Chopin in Paris has developed if not happily, it is favorable for creativity. Talent reached the top.

The publication of the works of Chopin no longer meets obstacles, it is considered a great honor to take lessons, and hear his game is rare happiness, affordable a few chosen. The last years of the composer's life was sad. His friend Yang Matusinsky died, after him - a hot favorite father. A quarrel and a break from Georges Sand made it quite lonely. Chopin could not recover from these cruel blows. The disease of the lungs, which Chopin suffered from the young age. For the past two years, the composer did not write anything. Funds dried up. To fix his heavy inventory, Chopin took a trip to London at the invitation of English friends. By collecting the last forces, the patient, he gives concerts there, lessons. The enthusiastic reception at first pleased him, hesitates vigor. But the crude climate of England quickly had his destructive effect. Restless life, full of secular, often empty and empty entertainment, began to tire him. Letters of Chopin from London reflect his gloomy mood, and often suffering:
"I'm not worried or rejoice in no longer able to feel anything, I completely stopped something - only styling and waiting for it as soon as possible."

His last concert in London, who turned out to be the last in his life, Chopin gave in favor of Polish emigrants. On the advice of doctors, he hastily returned to Paris. The last work of the composer was Mazurka Fa-minor, which he could no longer play, recorded only on paper. At his request from Poland came his older sister Ludwick, on the hands of which he died.

The creative heritage of Chopin is striking the wealth of musical genres and musical forms. Chopin wrote sonata and concerts - the compositions of large forms, so characteristic of Mozart and Beethoven. He wrote a lot of works in the genres, to which composers of the era of classicism were not fired. And although these genres, for the most part, existed to Chopin, the history of musical culture legally binds them with his name. Chopin raised such genres such as polonais, Mazurka, ballad, nocturne, etude.

In the field of musical , as in all other elements of its creative style, Chopin - a bold innovator. Not avoiding traditional structural schemes, Chopin interprets them extremely free, creating substantially new, deeply original musical forms. But always Shopin retains characteristic of the best samples of the music of classicism harness, completeness, strict logic of the development of thought.

Deserves special attention to the structure of large writings of Chopin. We first turn first to the most significant cyclic works - Sonata B-Toll and H-Moll.

· As well as most of the classic sonatas, they are four-part cycles.

· In the first parts Chopin does not depart far from the usual scheme of the Sonata Al1gro, while maintaining the unity of movement and shape, the traditional structure (exposure - development - reprise - code), classic functions of parties and the tonal relationship between the main and side parties (Minor - Parallel Major in Exposition and Minor-Monovation Major in reprise) and even repeating the exposition.

· We see here, at the same time, more brighter than in classic sonatas, the contrast of the main images (main and side parties); Reprises are reduced (the main parties are omitted). No less clear connection with the traditions of classicism in the structure of other cyclic compositions of Chopin (Piano Sonata C-MOll, concerts for piano with orchestra, trio, sonata for cello with piano).

Much further leaves Chopin from the classical norms in large one-piece writings. The most genre of a single plays of large scale If it did not arise, then in any case he was widely developed in the music of romantics - especially in the work of Chopin, as well as sheet.

You can specify two sources of this typical romantic genre.

· On the one hand, as noted by V. A. Zuckerman, for romantic music, it is characterized by a b about with about 6 l and e, a kind of "emancipation" of the partial cycles. Scherzo at Chopin is not only part of the cyclic form, but also independent works. In the same way (this, however, is more to small forms) some lyrical plays of Chopin can be viewed as those who have received the right to independently slow parts of the seen cycle.

· On the other hand, for romantic music is characterized by the compression of the seen cycle in one-room; Or that approximately the same thing is the penetration of cyclic elements into one-piece plays. Especially indicative in this regard large essays of the sheet (Sonata H-Moll, concerts). However, the leaf developed those trends that clearly revealed already in a number of pieces of chopin. Separate topics acquire much more independence in them than in the music works of the classic type and in the Sonatas of Chopin itself. We give a few examples.

Per person who is not familiar with ballad f -dur, the first topic of it can first impress an independent part of the cyclic composition: it is completed tonally and separated from the following theme long farm. The impression of the independence of the first topic is strengthened with the advent of the second topic, which contrasts the first and common character, and the tempo (Presto Con Fuoco instead of Andantino), and texture, and finally a tonality (A-Moll instead of F-DUR). And only if the first topic returns, it becomes clear that it is not an independent part of the cycle, but one of the contrasting images of one-piece essay. Approximately the same we we see in the ballad AS-DUR. The first theme, also tonally and structurally completed, is so clearly delivered from the second that it can be taken for an independent part of the writing. However, this topic is returned and in development, and in reprise, therefore it should be considered as the main batch of the work written in a very freely interpreted sonata form.

Prior to the value of independent parts, median episodes are growing in some. We indicate on the middle part (H-DUR) of Polionize-fantasy. The general nature of music, structural and tonal completeness, texture and dynamics This episode is quite clearly delimited from the peoy and third parts of the Polionize-Fantasy. On the scale of H-DUR, the "episode could well become one of the parts of the sonata cycle. The same can be said about the middle part of the B-Moll screech.

Independence, the wide development of theme-images gives a special character of a sonate form in some shovenic works.

Let us dwell on other features of the shape in one-piece works of Chopin. In some writings, it replaces the development of an independent central episode (XEPCO B-MOLL and E-DUR). Only in a few products reprise literally repeats the exposition; It is often reduced and modified, which is always dynamic than wristwork.

For large one-room works of Chopin are characteristic of both and first, and first of all - a combination of hencenity with elements of Rondo and C A R and C and O N N O S T Yu. One of the indicative examples is the F-MOL1 ballad. Variationity is a very significant feature of the style of large chopin work.

One of the manifestations of variational development is heterogeneous (intonational, textured, tonal, etc.), often very subtle and difficult-tooth links between themes of one essay. These links enable Chopin to achieve stylistic unity, thematic integrity in the wealth of musical images. F-Moll ballad code does not follow from the main themes. But she "echoes" with them (primarily with the main topic) by individual intonations, the characteristics of the invoice. Therefore, it very logically completes the "story told by Chopin."

* Speaking about the variety of genres in the music of Chopin, V. V. Stasov noted an extremely important feature. "Without looking at your seeming, miniature and limited forms, its preludes, nocturnes. Etudes, Mazurks, Polonaisa, IMRROMRTUS full of great and deepest content, and all of them, except for a few, rare exceptions, as many people belong to the field of music - "program", like his magnificent ballads[...] In the "Software" of his 2nd Sonates (B-Moll) no one doubts. The music program is determined not only by the title (or the program as such), but also a program idea.

It is difficult to say with complete certainty why Chopin shied away from the publication of his program ideas. Undoubtedly, it affected him his restraint. At the same time, it is very likely that the creative fantasy of the composer often took it outside the conceived program. Anyway, but Chopin only the closest people spoke about the plans of some of their works. True, the case is known when Chopin had the intention and s d a t b one of the writings with the program indication. On the manuscript of Nocturna G-MOLL OR. 15 Chopin wrote: "After the representation of Hamlet". But this time, Chopin remained faithful to himself. The shown phrase is crossed out, and next to her hand chopin is written: "No, let them know."

In the circle of friends of Chopin, some of his works were, apparently, are known under the program names. E. Delacroix in his "diary" mentions the Chopin Plays "Mill in Noana". Unfortunately, it remained unidentified, what an essay had in mind Delacroa.

So, we know that Chopin has works that B e C with p about r o belongs to the sphere of software music. Works of these few. Chopin's biographers call no more than one and two dozen plays definitely related to those or other programs or life impressions (about d o g a d k a x, at least convincing, we are not talking here). In order to show that these plays are not an exception in the art of Chopin, we must stay on problem about b r a z n o s t and his music , on t and p e of his program.

One of the most popular, deservedly loved ones and listeners and performers of Pieces Chopin - explichat FIS-DUR:

· Against the background of a very calm, as if the "brandy" accompaniment also sounds a calm, wide and soft melody of the folk warehouse. Without losing a calm character, the melody develops in typically chopin-graceful "piano colorants" and is replaced by a new way - gentle, transparent music; I remember a female or children's choir.

· Then the courageous heroic march follows.

· The singular first topic sounds again and gradually goes into delicate, air-lungs, softly pursuing passenger (tonal reprise).

· The second topic is returned in the conclusion ("Children's Choir").

In contrasting musical images, the basis of the plays of Chopin, genre connections (lullaby, chorus, march), causing almost visual-distinct associations, are very clear. The follow-up of these musical images leaves the impression of unusualness and involuntarily makes you think about the idea of \u200b\u200bthe play. Indeed, according to the data that came to us through the first Biographers of Chopin, Fis-Dur "Little Exprint - a piece of software. Chopin inspired the following picture: Young Polka, bending over the cradle, sings a song to the only son; Gradually mother falls asleep; she is messed with a magic choir , predicting the future of her infant - he will become a bold, courageous fighter for the depression ... wearing a song, a young mother fell asleep, plunging into the world of unclear dreams ...

This program discloses the meaning of musical images of the expression, its drama and at the same time the ideological idea of \u200b\u200bthe play. In this case, you can talk about with ya ft. In addition, the "plot" type includes some other Chopin software technologies - for example, F-DUR "Naya BalladInspired by the poem Mitskevich "Swithesian". In the ballad we see a kind of musical painting. However, the musical pictorialness here (as always at Chopin) is subordinate to deep psychologism.

And the expression of FIS-DUR, and the F -Dur ballad make it possible to judge the Chopin principles of the musical embodiment of program ideas. We see that in the ballad f -dur Shopin, without following step by step behind the story of the poet, without illustrating all the events described, draws the most significant episodes. And scenes of Mitzkevich's ballads in deep contrasting images. The same - in the expression of FIS-DUR.

Based on the idea of \u200b\u200bShopin's ideas, it creates generalized artistic images with deep thoughts, with exciting emotions. The first episode of ballads is not so much landscape as the musical disclosure of the happiness of lovers. In Presto's music and the final Agitato, the Hurricane and the noise of the raging waves are heard, but the main thing here is the spiritual confusion and the premonition of the smoking death.

Chopin meets - mainly in small plays - and other type of software - about b about b ukh e n y y. Turn to K. etude AS-DUR OR. 25.. According to the legend, which brought Chopin's biographers, this sketch appeared under the impression of the next episode: during the walk of Chopin, Zastagla storm; Through the noise of the rain and the wind, the sounds of the horn came to him, on which shershed the shepherd was playing. Chopin avoids in AS-DUR "Mr. Etude detailed sound surveying. We do not hear the traditional imitation of pastoral napless and as traditional imitation of the intensities and gusts of the wind. Immediately life impression and here it is brought by Chopin in an artistic image. Song of the shepherd, the noise of rain and wind, rural landscape - all this was awakened by the creative fantasy of Chopin, but he did not put his task to give a "visual sketch", an accurate "musical description" of the episode, which caused an AS-DUR etude. In this - common between AS-DIR etude and the second ballad. The difference is that there is no robe in etude in etude, there is no sound paintings. This is, in essence, e d and n s Art art image. The same type of programming we see in a s-moll eur. 10. Here, there is also no development of the plot in the change of male paintings. All the atuds will penetrate the idea, one sense - pain for homeland. The same single image - in Etude F -moll or. 25, which is a "musical portrait" Maria Vodznyskaya.

Thus, it is possible to say that almost all the work of Chopin is programmatically essentially. We have the right to conclude about the program based on both music and music on certain stylistic signs. It is almost impossible to doubt the software content of almost all polones or fantasy F-Moll. The extraordinary relief of musical images of fantasy, the features of her dramaturgy (in particular - the introduction of a mud-pathetic speech monologue in the middle of the play) - all this convincingly speaks about the presence of a program in the brilliant creation of Chopin.

In the works of Chopin, we meet numerous program interpretations of its works. Some of these programs look more or less convincing, others are clearly subjective. But the very fact of persistent searches of programs in Sopenov's writings shows that many of them are working in the bottom of it out of connection with those or other specific ideas. No wonder Saint-Sans said about Chopin: "His music is always a picture."

About the evolution of style:

Creativity Chopin, like any other artist, has not remained unchanged:

· In his early, Warsaw essays dominate light sentiment, youthful joy.

· With the defeat of the Polish uprising into the music of Chopin, images are dramatic, tragic, heroic.

· In many later chopin essays, self-ferrous, sophisticated psychologism rightly note.

Evolved and musical speech Chopin:

· The harmonic language and the structure of the early writings are carefully simple. Piano presentation to the elegant "voyage" virtuosity.

· In the mature writings of Chopin, we see the wealth of piano texture and harmony. B. Selected late essays are noticeable to the sophistication of the piano letter and harmony, and in some way and the complication of musical thinking.

But still, music Chopin - art e d and n about g about with t and l. Already in youthful writings, he speaks his own musical speech. The main ideological content of his art is a fiery love for an oppressed Motherland - remained unchanged throughout his life. Similarly, there remained consistently strong connections of his music with Polish folk art. Therefore, in any fragment of any chopin essay - whenever it is written - immediately recognizes the creative hand writing of his author. No wonder you can put nearby, for example, one of the earliest works of Chopin, Mazurka A-MOLL OR. 17 No. 4, and Masurka G-Moll OR. 67 No. 2, written in the last years of life. It is impossible to say that these plays are completely the same, but from the very first clocks it is clear that the author of their Freiderik Chopin.

To reveal the deep originality of the works of the Great Polish composer, show something in common, which brings all Schopin Nochopany, Mazurki, - it is possible only if we consider it creativity by genres. Within the framework of individual genres, we will cover the evolution of the style of Chopin, turning, for example, attention to the difference between youthful flights, full of mature years and polona-fantasy, written in the last years of the composer's life.

1838., Portrait of a brush Ezhen Delacroix

Music Chopin has lyricism, subtlety in the transfer of various sentiment; Its works are distinguished by the breadth of national folklore and genre connections. Chopin interpreted many genres in a new way. He enriched the harmony and piano invoice, combined the classical form with melodic wealth and fantasy. In its piano execution, the depth and sincerity of feelings were combined with grace, technical perfection.

Chopin - Nocturne Op.9 No.2 (Arthur Rubinstein)

Chopin (Chopin) Friedarch (March 1, 1810, Zhelyazov Volya, Poland - October 17, 1849, Paris), Polish composer and pianist. Music Chopin has lyricism, subtlety in the transfer of various sentiment; Its works are distinguished by the breadth of national folklore and genre connections. Many genres interpreted in a new way: he revived the prelude on a romantic basis, created a piano ballad, opoethized and dramatized dancing - Mazurka, polonaise, waltz; I turned the scherzo into an independent work. Enriched harmony and piano invoice; Combined the classical form with melodic wealth and fantasy. 2 concerts (1829, 1830), 3 Sonata (1828-44), fantasy (1841), 4 ballads (1835-42), 4kztso (1832-42), impromptu, nocturons, etudes and other works for piano; songs. In its piano execution, the depth and sincerity of feelings were combined with grace, technical perfection.

Young genius

Born in a mixed French-Polish family; The native language of Chopin was Polish. In 1816-1822, he studied the game on the piano in the Village Living (1756-1842), whose teaching was based on music I. S. Bach and Viennese Classics. Apparently, at the same time, the first acquaintance of the future composer with Italian Belkanto took place. The unique melodic style of Chopin was developing under the cumulative influence of Mozart, Polish national music, in particular, salon plays of his senior contemporaries M. K. Oginsky, M. Shimanovskaya and others, as well as the Italian opera. The first composer experiments of Chopin (two polona) belong to 1817. From 1819, he acts as a pianist in Warsaw aristocratic salons. In 1822 he began to engage in a particular way at the leading Polish composer Yu. Elsner. In 1823 he entered the Warsaw Lyceum, shortly before the end of which published his first Opus - Rondo C-Moll (1825). In 1826-1829, Chopin studied in the class of Elsner in the Warsaw Music General School. This period includes variations on the topic of a duet from the Opera Mozart "Don Juan" for piano with Orchestra Op. 2, the first Sonata op. 4 and a series of plays. At the end of the Conservatory, Chopin was officially awarded the characteristics of the "Musical Genius".

CHOPIN - NOCTURNE NO.19, OP.72 No.1 (Richter)

House Chopin

Voluntary Exile

In 1829 and 1831, Chopin successfully concert in Vienna. Then R. Schuman enthusiastically responded in printing about the variations of Op. 2 ("Shadow's caps, gentlemen, in front of you a genius!"). The news of the defeat of the Polish uprising 1830-1831 found Chopin when he was in Stuttgart (according to a popular legend, Chopin responded to her a play, which is now widely known as the "revolutionary etude").

Chopin - Rondo à La Krakowiak, Op. fourteen

Being a convinced supporter of Polish independence, Chopin refused to return to his homeland and settled in Paris, where she soon acquired a reputation as an outstanding teacher and pianist. He was adopted in the highest circles of the Paris Aristocracy, met with popular pianists-virtuoso F. Calcbrenner and K. Pleyel (who had practical assistance in the first period of his Parisian life), musicologist F. J. Fetis, composers F. Sheet, V. Bellini, an artist E. Delacroix, writers Gayne, V. Hugo, other prominent representatives of the Paris-art elite; Among his friends were also representatives of Polish emigration. In 1835 and 1836, Chopin went to Germany (where he met, in particular, with Shuman and F. Mendelson), in 1837 - to London. Meanwhile, he developed a pulmonary tuberculosis, the first symptoms of which were discovered in 1831. Soon, Chopin actually refused the career of the virtuoso, limiting his concert activities by rare performances, mainly for a few audience, and focused on the composition, publishing his opuses simultaneously in Paris, London and Leipzig.

Near Georges Sand

Georges. Sand

Chopin - Nocturne Op.15 No.3 in G Minor (Arthur Rubinstein)

In 1837, the Roman Chopin began with the famous French writer Georges Sand, which treated Chopin in part of the motherly, as a fragile and immature creation, which is necessary for constant care. Winter 1838-1839 Chopin and J. Sand spent on Mallorca Island (Spain), which has a beneficial effect on the health of the composer. His connection with the writer lasted about 10 years. After breaking with J. Sand (1847), the health of Chopin deteriorated sharply.

Frederick Chopin - photo 1848

In February 1848, he gave his last concert in Paris. The revolution that began a few days later, forced Chopin to go to the UK, where he spent seven months, playing in aristocratic salons (including the Queen of Victoria) and giving lessons. Upon returning to Paris, Chopin was no longer able to deal with students; In the summer of 1849, he wrote his last work - Mazurka F-Moll op. 68 №4. At the funeral of Chopin in the Paris Church of St. Mary Magdalene was present about three thousand people; His preludes E-Moll and H-Moll from Op. 28 and "Requiem" Mozart. At the funeral, the orchestra played a mourning march from his second Sonata B-Moll Op. 35. At the request of Chopin, his heart was transported to Poland; It rests in the Warsaw Church of the Holy Cross.

Chopin - Prelude No.4

Museum Chopin

Virtuoso and improvisator

Almost all Music Chopin is designed for piano (among few exceptions - Late Sonata for Cello and Piano, dedicated to a friend of the composer, Cello O. Frankom, and a half dozen songs on the words of Polish poets). According to the reviews of contemporaries, Chopin was an inspired improviser. He composed in the game of the game, painfully trying to fix his musical ideas in the notes. The legacy of Chopin is small in volume, but the artistic world embodied in it is universal.

Chopin - Grand Valse Brillante

One of the poles of Chopin's creativity make up youthful virtuoso plays (including Rondo) and works for piano with the orchestra (two concerts, 1829-30, etc.), in which he still adheres to the traditional forms of romantic pianism "Big Style". Other Pole is the monumental third Sonata H-Moll (Op. 58, 1844) and the surrounding fantasy (1841), lullaby (1843-44), Barcarol (1845-6), the third and fourth ballads (1840-41, 1842) , Fourth Scherzo (1842), Three Mazurks op. 56 (1843), three Mazurks op. 59 (1845), polona-fantasy (1845-46), nocturons. 62 (1846) - Works of enormous expressive strength and nobility, innovative in shape (for late chopin, a free three-part form with a long-prepared abbreviated reprise, which usually goes into a compressed code), invoice, harmonic language. Between these two poles, etudes, preludes, nocturines, waltza, mpasters, polonesa are located, are invariably perfect in all parts and diverse, as life itself. The poet and the musician B. L. Pasternak considered this variety of a distinctive feature of Chopin and called his work "the instrument of knowing any life."

Chopin - Nocturne Op.48 No.2(Arthur Rubinstein)

Monument to Chopin

Music Chopin is almost entirely withstanding in a homophone harmonic warehouse; The absence of counterpoint in the usual sense is compensated in it rich in the game of accompanying votes, creating the effect of the finest grain polyphony. Many of his plays were written in popular household, salon, educational (etudes) genres, but under the pen of chopin, their genre prototypes acquire a completely new scale. Words of Shuman about one of the Etudes of Chopin: "This is not so much etude as a poem," applied to all the rest of the etudes, as well as to most Mazurok, Waltz, Preludes, Nokturnov, etc. (genre principle prevails over the poetic only in some early places of Chopin ). It is characterized by unusually bold tonal comparisons and modulation (often receiving the form of sudden "slipping" into remote tones), the excursions in the sphere of clean chromatics or modality. The influence of the harmonic and melodic language of Chopin can be traced in the work of such different composers as F. Sheet, R. Wagner, Forest, K. Debussy, E. Grieg, I. Albehenis, P. Tchaikovsky, A. Scriabin, S. Rachmaninov, K. Shimanovsky. From 1927, the International Chopin Competition is held in Warsaw.

Chopin - Nocturno EN SI BEMOL MENOR OP.9 NO.1

Frederick Chopin (1810-1849) - Polish pianist and composer. He was born in 1810, on March 1 (on other sources on February 22), in the village of Zhelyzov-Will, located near Warsaw. Chopin's biography will be considered in this article.

A family

The father of the composer is Nicolas Chopin (1771-1844).

He married in 1806 on Yust Kuzhanovskaya (1782-1861). According to the preserved testimony, the mother of the composer received a good education. She was very musical, playing the piano, sang well, owned by French. Mother Frederick is obliged to be grafted with young years with love for folk melodies, which was then reflected in his work, as well as the first musical impressions. After some time after the birth of a boy, in the fall of 1810, his father moved to Warsaw.

First achievements in music

Frederick Chopin, whose biography already in early years is marked by the achievements in music, and in childhood showed musical abilities. The famous Catalani predicted in it, then another ten-year-old boy, great future. Frederick Chopin began to play piano at the age of seven years old, as well as writing music. From nine years, the boy began to deal with Wojo Liery, Czech, a serious teacher. The executive talent of Chopin developed so rapidly that the boy was not inferior to twelve for the best Pianists of Poland.

The first public speech of this musician took place in Warsaw in 1818. He was already by this time the author of several plays for piano - march and polonesov. Chopin, whose biography and creativity are covered in our article, in 1823 he entered one of the Warsaw schools. It continued to study his music.

Chopin's biography and interesting facts are complemented by the next event. In 1825, the composer was invited to speak to Alexander the first, the Russian emperor. He received a reward after the concert - a diamond ring.

Continued learning

Village was the only pedagogue of Chopin on the piano. Seven years after studying he, in the early 1820s, Frederick began to study at Yu. Elsner. By this time, the talent developed him greatly. Chopin's biography was replenished with new facts in 1826, when in July he graduated from studying at the Warsaw School, and in the fall, he entered the purpose of continuing education in the Warsaw School of Music. Here Frederick studied for about three years.

The patrons of the princess Chetverinsky and Anton Radzville introduced him to the Higher Society. The appearance and appeal to Chopin made a pleasant impression. This was noted by many of his contemporaries. Sheet, for example, said that the impression of Frederick produced "calm, harmonious".

Works created during training from Elsner

Under the guidance of an excellent teacher and musician Elsner, who immediately noticed the brilliant gifts of Chopin, Frederick made great successes. Photo Elsner is presented below.

Chopin was written during the training of many works for piano, from which the Rondo can be distinguished, the first sonatoo, variations on the theme of Mozart, Nocturne Minor, Krakowak and others. The strongest influence on this composer was already the folk music of Poland, as well as poetry and literature of this country (Withersky, Slovak, Mitskevich, etc.). In 1829, at the end of training, Frederick went to Vienna, where he performed his works. Chopin's biography was marked by the first independent concert held in 1830 in Warsaw. He followed a number of others.

Chopin leaves his homeland

Chopin in 1830, October 11, played Warsaw for the last time, after which he left his homeland forever. He lived in Vienna from late 1830 to 1831 (first half). Visiting theaters, musical dating, concerts, rides around the neighborhoods of the city were favorably on the development of taking such a musician as Chopin. The biography and creativity of this composer in those years are marked by the following events.

Chopin went from Vienna in the summer of 1830. He conducted the beginning of September in Stuttgart, where he learned about the fall of Warsaw and the failure of the Polish uprising. Then, passing Munich, Vienna, Dresden, he arrived in Paris in 1831. Biography Chopin and his work can be studied in more detail if you contact a diary, which led the writer on the way ("Stuttgart Diary"). It describes the mental state of the composer while in Stuttgart, where Frederick swept despair due to the defeat of the Polish uprising. This event was reflected in his work, which we will tell you now.

New compositions of the composer

Frederick Chopin, whose biography interests us, impressed by this news, wrote etuds to Minor, who is often revolutionary, as well as two preludes, deeply tragic: re minor and la minor. Among the new works of this composer at that time were also polonais Mi-Barol Major, concerts for piano with orchestra, nocturons, Polish songs on the works of Mitskevich and Withersky and others. Frederick subordinates fully musically poetic images technical elements of works.

Chopin in Paris.

So, as we said, Biography Chopin in 1831, in the fall, was noted by moving this composer to Paris. His life has been connected with this city. Here, the composer became close to Bellini, Berlioz, Sheet, Mendelssohn, Giller, and also met with such artists and writers as Georges de Sand, Lamartin, Hugo, Delacroix, Heine, Müs, Balzac. In 1832, February 26, Chopin gave his first concert in Paris, in which the variations on the work of Mozart "Don-Zhuan", as well as a piano concert. The list attended on the speech noted that Chopin's talent, together with his innovations, opened a new phase in the development of art. Already then it was clear that a lot of success would achieve Frederick Chopin. Biography briefly outlined in the article allows you to make sure that.

Life in Paris in the 1830s

Frederick in the period from 1833 to 1835 performs works often together with Giller, Shertz Brothers. In concerts, he rarely appeared, but in the salons of the French aristocracy and the Polish colony of the glory of this composer grew very quickly. He also had opponents (filoff, Calcbrenner), but this did not interfere with Frederick to acquire many fans in society, including among the artists. Decisive in the personal life of this composer were 1836-1837 years. Then the engagement with the Vodzinsky Maria was broken, and Chopin became close to George Sand. In 1837, Frederick felt the first attack of the sickness of the lungs. Such is the Biography of Chopin (summary).

Flowering creativity

The highest flourishing of Frederick's creativity falls for the period from 1838 to 1846. Chopin was at that time the most significant and perfect works were written, including the second and third sonatas, polonesa Fa-Diez Minor and La-Flat Major, Ballads, Barcarol, Polona Fantasia, Nocturren, Scherzo, Preludes, Mazurki, etc. He also continued to perform in concerts together with Frank, Polina Viaro, Ernst, however, much less often than before. Usually, Frederick was held in Paris in Paris, in Noon, and the summer - in the estate of Georges Sand. Only one winter (1839-1840) he met because of the shameless health in the south, on the island of Mallorca in Spain. It was here that his 24 preludes were completed.

Father's death and gap with Georges Sand - two tragic events that Schopin survived

The biography briefly described is complemented by the following two important events in the life of the composer. The first - Father Chopin died in 1844, in May. It is extremely difficult composer survived his death. It became impossible to fear his health. The second event that happened in 1847 is a break from Georges Sand. It finally undermined the power of the composer. The portrait of this woman's work of the artist Delacroix, written in 1838, is presented below.

Wanting to leave the city of Paris to get rid of everything that reminded the experienced here, Frederick leaves in 1848, in April, to London.

The last two years of the life of Chopin

In the painful suffering pass the last two years of life Frederic Chopin. He practically does not compose music and does not act at concerts. In 1848, on November 16, his last speech in London was held in the Polish evening. Climate, nervous life, unexpected success - all this undermined the painful nature of the composer, and, returning to Paris, a great musician run. Frederick stops practicing with his students. In his state of health in winter, 1849 is a significant deterioration. Neither the arrival in Paris Louis, the beloved sister, nor the concern for friends of relief do not bring, and he dies after severe agony.

Death of Chopin

The death of Frederick Chopin began a blow to the world of music, and the funeral was collected by his numerous fans. In Paris, he buried Chopin on the cemetery. The dust rests between Bellini and Kerubini. Frederick put Mozart above other composers. The adoration of the symphony "Jupiter" and requiem reached his cult. At his funeral, in accordance with the desire of the deceased, the most famous artists was filled with Requiem Mozart. The heart of the composer according to his will was transported later to his homeland, in Warsaw, to the Church of the Holy Cross.

Dance genres in the work of Chopin

Chopin's creativity inspired the infinite devotion to their people, their homeland, the struggle for national liberation. He used the richness of Poland's folk music. A significant place in the heritage of chopin is occupied by various dance genres. It should be noted that dance is one of the inalienable qualities inherent in the musical folk culture of Poland. Waltza, Polonesa, Mazurki (presented in which there were features of the three folk dances - Workers, Kuyvyaka and Mazura) reveal the connections that exist between the works of Frederick and Poland's folk music in all its diversity. Frederick Chopin, whose biography was described by us, showed innovation in their transformation and interpretation. For example, his polonaisa is noticeably expanding and democratizes this genre, sometime solemn-ceremonial. Mazurks poetize and deepen the folk dance. Waltzam are inherent in the features of the People's Dance Melody of Slavs.

Non-resident genres

Chopin also interprets various non-drug genres in a new way. Etudes are highly artistic creations, where ideological and emotional content is combined with the original means of their embodiment. Scherzo Chopin is also pretty peculiar writings. They differ from the scherzo, which are used in classical symphony, as well as from the sonata. Ballads - inspired by poetic images dramatic stories, full of romantic freedom, contrasts, life diversity.

Musical language Chopin

It is organically combined genre innovation of Chopin with the novelty of his musical language. Frederick created a new type of melody - flexible, extremely expressive, deployed continuous, combining various instrumental and vocal, dance and song features. Also Frederick Chopin, whose biography is described above, revealed new opportunities for harmony. He fused together the various elements of Poland's folk music with romantic harmony. Chopin strengthened the role of colorful and dynamic elements. His finds in the field of polyphony are very interesting (all voices are saturated with melodic expressiveness) and musical form (the use of reception of variational development, characteristic of Poland's folk music). An innovation of this composer fully affected his executive art. He produced, like a leaf, a real coup in the technique of playing the piano.

Effect of Chopin's creativity on other composers

Chopin's creativity is generally characteristic of thinking and harmony. It is far from his music from both closed, academically cold and romantic exaggerations. She is alien to insincerity, basically people, immediately, freedom-loving.

Biography of Chopin and his works inspired many musicians. Frederic's work had a great influence on many generations of composers and performers. The influence of the melodic and harmonious language of Frederick Chopin can be traced in the works of Wagner, Sheet, Debussy, Forest, Albehenis, Griga, Scriabin, Tchaikovsky, Shimanovsky, Rakhmaninov.

The meaning of creativity

Chopin's biography and music today are of great interest, and it is not by chance. This great composer interpreted many genres in a new way. He revived the prelude on a romantic basis, also created a piano ballad, dramatized and opoethized the dancing: Waltz, Polonaise, Mazurka, turned into an independent work Skierzo. Chopin enriched the piano texture and harmony, combined with a fantasy and melodic wealth classic form.

He composed about fifty Mazurok, whose prototype is a polish folk dance with a three-rhythm rhythm. These are small plays. In them, harmonic and melodic revolutions sound in Slavic.

Frederick Chopin gave only about thirty public concerts for his life. He performed mainly in his friends's homes. His performing style was very peculiar. It was distinguished by the reviews of contemporaries, rhythmic freedom - the extension of some sounds due to the fact that others were reduced.

Memory Frederick Chopen

Every five years in Warsaw, since 1927, international competitions named after Chopin are held, in which the most famous pianists participate. In 1934, the Institute of Chopin was also organized, called the society. F. Chopin since 1950. Such societies are also available in Austria, Germany, Czechoslovakia. They existed in France to the Second World War. In the town of Zlyzizen-Wola, where the composer was born, the house-museum of Chopin was opened in 1932.

The International Federation of this composer's society was founded in 1985. In Warsaw in 2010, March 1, was opened after the modernization and reconstruction of the Frederick Chopin Museum. Event is timed to two hundred years from the day of his birth. 2010, in addition, was declared the Year of Chopin in Poland. This composer, as you see, know, remember and love until now not only in the homeland, but also around the world.

Chopin's biography and all the dates of the events that happened to this great composer were described in our article as far as possible. In music schools today, the work of this author is included in the mandatory program. However, young musicians are studied by Biography Chopin briefly. For children, this is enough. But in adulthood, I want to get acquainted closer with such an interesting composer. Then the Biography of Chopin, briefly for children written, we no longer satisfy us. That is why we decided to create a more detailed description of the life and creativity of this great person. Biography of Chopin, a brief content of which you can find in various directories, we were supplemented on the basis of various sources. We hope that the information provided was interesting to you. Now you know, from which events was the Biography of Chopin and what works he wrote. All the best!