Chopin: Preludes

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Kubba, Adam; Young, Madeleine (1998). "The Long Suffering of Frederic Chopin" (PDF). Chest. 113 (1): 210–216. doi: 10.1378/chest.113.1.210. PMID 9440592. Archived from the original (PDF) on 19 August 2014 . Retrieved 28 March 2021. Frédéric Chopin was born in Żelazowa Wola, 46 kilometres (29 miles) west of Warsaw, in what was then the Duchy of Warsaw, a Polish state established by Napoleon. The parish baptismal record, which is dated 23 April 1810, gives his birthday as 22 February 1810, and cites his given names in the Latin form Fridericus Franciscus (in Polish, he was Fryderyk Franciszek). [6] [7] [8] The composer and his family used the birthdate 1 March, [n 4] [7] which is now generally accepted as the correct date. [8] Hall-Swadley, Janita R., ed. (2011). The Collected Writings of Franz Liszt: F. Chopin. Lanham: Scarecrow Press. ISBN 978-1-4616-6409-3. Reiss, Jozef; Brown, Maurice (1980). "Polonaise". In Sadie, Stanley (ed.). The New Grove Dictionary of Music and Musicians. Vol.15. London: Macmillan Publishers. pp.49=52. ISBN 978-0-333-23111-1. The Prelude Op. 28, No. 4 by Frédéric Chopin is one of the 24 Chopin preludes. By Chopin's request, this piece was played at his own funeral, along with Mozart's Requiem.

Brown, Maurice (1980). "Nocturne". In Stanley Sadie (ed.). The New Grove Dictionary of Music and Musicians. Vol.13. London: Macmillan Publishers. pp.258–259. ISBN 978-0-333-23111-1.

Nocturnes

Marcin Grochowina published trio-variation and improvisation with this prelude in 2015 on the CD "Chopin Visions". For this album, the prelude was titled "Prelude in c" Rosen, Charles (1995). The Romantic Generation. Cambridge, MA: Harvard University Press. ISBN 978-0-674-77933-4. As with his other works, Chopin did not himself attach names or descriptions to any of the Op. 28 preludes, in contrast to many of Robert Schumann's and Franz Liszt's pieces. Samson, Jim (2001). "Chopin, Fryderyk Franciszek". Grove Music Online. Oxford, England: Oxford University Press. doi: 10.1093/gmo/9781561592630.article.51099. ISBN 978-1-56159-263-0. (subscription or UK public library membership required)

A lengthy prelude featuring an A–B–A structure with continuous eighth-note movement in the left hand and chords and a nocturne-like melody in the right. Although the two displayed great respect and admiration for each other, their friendship was uneasy and had some qualities of a love–hate relationship. Harold C. Schonberg believes that Chopin displayed a "tinge of jealousy and spite" towards Liszt's virtuosity on the piano, [74] and others have also argued that he had become enchanted with Liszt's theatricality, showmanship, and success. [75] Liszt was the dedicatee of Chopin's Op. 10 Études, and his performance of them prompted the composer to write to Hiller, "I should like to rob him of the way he plays my studies." [76] However, Chopin expressed annoyance in 1843 when Liszt performed one of his nocturnes with the addition of numerous intricate embellishments, at which Chopin remarked that he should play the music as written or not play it at all, forcing an apology. Most biographers of Chopin state that after this the two had little to do with each other, although in his letters dated as late as 1848 he still referred to him as "my friend Liszt". [74] Some commentators point to events in the two men's romantic lives which led to a rift between them; there are claims that Liszt had displayed jealousy of his mistress Marie d'Agoult's obsession with Chopin, while others believe that Chopin had become concerned about Liszt's growing relationship with George Sand. [73] George Sand Chopin at 28, from Delacroix's joint portrait of Chopin and Sand, 1838 Chopin also endowed popular dance forms with a greater range of melody and expression. Chopin's mazurkas, while originating in the traditional Polish dance (the mazurek), differed from the traditional variety in that they were written for the concert hall rather than the dance hall; as J. Barrie Jones puts it, "it was Chopin who put the mazurka on the European musical map". [153] The series of seven polonaises published in his lifetime (another nine were published posthumously), beginning with the Op.26 pair (published 1836), set a new standard for music in the form. [154] His waltzes were also written specifically for the salon recital rather than the ballroom and are frequently at rather faster tempos than their dance-floor equivalents. [155] Titles, opus numbers and editions Autographed musical quotation from the Polonaise Op. 53, signed by Chopin on 25 May 1845Taruskin, Richard (2010). Music in the Nineteenth Century. Oxford: Oxford University Press. ISBN 978-0-19-538483-3. Chopin's music is frequently played with rubato, "the practice in performance of disregarding strict time, 'robbing' some note-values for expressive effect". [201] There are differing opinions as to how much, and what type, of rubato is appropriate for his works. Charles Rosen comments that "most of the written-out indications of rubato in Chopin are to be found in his mazurkas... It is probable that Chopin used the older form of rubato so important to Mozart... [where] the melody note in the right hand is delayed until after the note in the bass... An allied form of this rubato is the arpeggiation of the chords thereby delaying the melody note; according to Chopin's pupil Karol Mikuli, Chopin was firmly opposed to this practice." [202] In April, during the 1848 Revolution in Paris, he left for London, where he performed at several concerts and numerous receptions in great houses. [110] This tour was suggested to him by his Scottish pupil Jane Stirling and her elder sister. Stirling also made all the logistical arrangements and provided much of the necessary funding. [114] Kallberg, Jeffrey (2006) [1994]. "Small fairy voices: sex, history and meaning in Chopin". In Rink, John; Samson, Jim (eds.). Chopin Studies 2. Cambridge: Cambridge University Press. ISBN 978-0-521-03433-3. (e-book version of 1994 publication)

Miller, Lucasta (21 June 2003). "The composer who never grew up". The Guardian . Retrieved 18 December 2020. This prelude was played at Chopin's funeral on organ. [13] Its melancholy melody is primarily given to the left hand. Frédéric François Chopin [n 1] (born Fryderyk Franciszek Chopin; [n 2] [n 3] 1 March 1810–17 October 1849) was a Polish composer and virtuoso pianist of the Romantic period, who wrote primarily for solo piano. He has maintained worldwide renown as a leading musician of his era, one whose "poetic genius was based on a professional technique that was without equal in his generation". [5]Wheeldon, Marianne (2009). Debussy's Late Style. Bloomington: Indiana University Press. ISBN 978-0-253-35239-2. Szulc, Tad (1998). Chopin in Paris: the Life and Times of the Romantic Composer. New York: Scribner. ISBN 978-0-684-82458-1. The Krasiński Palace, now known as the Czapski Palace, is now the Warsaw Academy of Fine Arts. In 1960 the Chopin family parlour ( salonik Chopinów), a room once occupied by the Chopin household in the Palace, was opened as a museum. [26] a b Appleyard, Brian (2018), "It Holds the Key", The Sunday Times Culture Supplement, 3 June 2018, pp. 8–9.

It is rumoured that Polish scores show the flat accidental and that all others versions are incorrect due to a type-setting error. [ citation needed] The opening prelude is unified by a triplet sixteenth-note figuration as the hands run over the keys.The music for the Commodore 64 version of the videogame Ghosts 'n Goblins by Mark Cooksey is based on Prelude No. 20. Whereas Bach had arranged his collection of 48 preludes and fugues according to keys separated by rising semitones, Chopin's chosen key sequence is a circle of fifths, with each major key being followed by its relative minor, and so on (i.e. C major, A minor, G major, E minor, etc.). Since this sequence of related keys is much closer to common harmonic practice, it is thought that Chopin might have conceived the cycle as a single performance entity for continuous recital. [6] An opposing view is that the set was never intended for continuous performance, and that the individual preludes were indeed conceived as possible introductions for other works. [7] Prelude No. 20 in C minor. This prelude, modified slightly, was used as the theme for variations in both Sergei Rachmaninoff's Variations on a Theme of Chopin and in Ferruccio Busoni's Variations on a Theme of Chopin. Walker, Alan (1988). Franz Liszt: The Virtuoso Years 1811–1847. London: Faber and Faber. ISBN 978-0-571-15278-0. Chopin himself never played more than four of the preludes at any single public performance. [5] Nor was this the practice for the 25 years after his death. The first pianist to program the complete set in a recital was probably Anna Yesipova for a concert in 1876. [8] Nowadays, the complete set of Op. 28 preludes has become repertory fare, and many concert pianists have recorded the entire set, beginning with Ferruccio Busoni in 1915, when making piano rolls for the Duo-Art label. Alfred Cortot was the next pianist to record the complete preludes in 1926. Knyt, Erinn E. (2017). "Ferruccio Busoni and the 'Halfness' of Frédéric Chopin". The Journal of Musicology. 34 (2): 241–280. doi: 10.1525/jm.2017.34.02.241. JSTOR 26414211.