Frédéric François Chopin

Born: 1 March 1810, Zelazowa Wola (Poland)
Died: 17 October 1849, Paris (France)

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Music

[In Dutch]

• Piano: Albumblad; ‘Allegro de Concert’; Andante Spianato; Andantino; 4 Ballades; Barcarolle; Berceuse; Bolero; 2 Bourrées; Canon; Cantabile; Contradans; 3 Ecossaises; 27 Etudes; Fantasie; Fuga; 4 Impromptus; Largo; 61 Mazurka’s; 2 Marsen; 21 Nocturnes; 16 Polonaises; 26 Preludes; 4 Rondo’s; 4 Scherzi; 3 Sonates; Tarantelle; 4 Variatiewerken; 20 Walsen
• piano-vierhandig: 1 Variatiewerk
• 2 piano’s: 1 Rondo
• fluit/piano: 1 Variatiewerk
• cello/piano: ‘Grand Duo’; Introductie & Polonaise; Sonate
• viool/cello/piano: Trio
• zang/piano: 19 Liederen (Pools)
• piano/orkest: ‘Grande Polonaise’; Fantasie; ‘Krakowiak’ (Concertrondo); 2 Pianoconcerten; 1 Variatiewerk

[in French]

Interpreting Chopin (Composer versus Interpreter)

by Angela Lear

Chopin’s music has always posed a challenge to pianists. His music has retained a universal popularity and continues to be performed worldwide. Recordings of his piano music probably amount to thousands, so Chopin is apparently ‘well-represented’ – but important aspects governing the performances of his compositions have yet to be addressed.

To gain insight into Chopin’s unique musical language and stylistic practices it is essential for the interpreter to comprehend as far as possible his expressed intentions. Our knowledge and appreciation of this most elusive and innovative of composers is greatly enriched by the combined study of not only his original manuscripts and related source material (i.e. draft scores, early editions and annotated scores), but also the many statements made by his associates, friends and pupils who knew his playing and teaching principles. In addition to the considerable amount of general correspondence, reviews and reports of his concerts are revealing, although not always laudatory — especially from avid supporters of the ‘sledge-hammer school’ (Chopin’s description of pianists applying excessive force to the piano). It is also necessary to familiarise ourselves with Polish folk-music and the historical development of the Polonaise, Rondo, Krakowiak, Oberek and Mazur.

Most of us concert pianists lead very busy lives so it is reasonable to ask whether or not it is really necessary to undertake the time-consuming task of such studies. To answer that question, one so often addressed to me, I would like to cite a single example of the wide disparities that exist between Chopin’s performance directions and the interpretative approach many pianists commonly adopt when playing his famous ‘Black Keys’ Study in Gb major, Op. 10 No. 5.^*

We are familiar with performances of this remarkable Study executed in brilliant bravura style — Allegro con brio/Presto with highly-charged forte dynamics, heavily accented and liberally pedalled — to suit the desired virtuosic display. This approach is, however, in direct opposition to Chopin’s original score markings and his concept of its interpretation. His score markings were actually given as leggierissimo e legatissimo (extremely light and delicate with a very smooth effect), carefully balanced against an unpedalled staccato l.h. accompaniment. The exaggerated dynamics and ‘express train’ tempo markings imposed on this Study are not to be found in the original manuscripts and so we have, regrettably, arrived at an opposing concept to that of the composer! To achieve the delicate lightness of touch required by Chopin is far more demanding technically, especially on the large concert grand pianos of today. A tonal refinement easier to ignore than achieve! There is also the problem of maintaining the tempo to include the double-octaves that descend in a final flourish of triplets. No slowing down of pace is indicated here, but it becomes inevitable when the overall tempo is taken too fast. Double-octaves being more difficult to play technically at a faster tempo than single notes! Presto metronome markings applied to this Study in editions are not from Chopin.

Where score markings are correctly stated in editions his compositions still unfortunately fall prey to all manner of facilitating alterations in performance, perpetuated by generations of pianistic ‘tradition’ and trends. Regrettably the variety of erroneous ‘revisions’ imposed on Chopin’s scores from those who arrogantly seek to remould his music into versions that suit their purposes better are often praised. The facilitating options of ‘personalised interpretation’ with ‘flexibility of expression’ — to the extent that originally written score directions are all but eclipsed — are too often defended. A carte blanche or ‘free for all’ when interpreting Chopin is often actively encouraged on the misguided premise that pretentious sentimentality and histrionic (mis)interpretations actually ‘improve’ his compositions. To perceive Chopin as the archetypal Romantic languishing in a violet-scented mist of indecision about his scores is a misconception borne of spurious legend.

Chopin had very definite views on strict adherence to his score details: "Chopin could not bear anyone to interfere with the text of his works. The slightest modification was a gross error for which he would not pardon even his closest friends, not even his fervent admirer Liszt. The composer considered these alterations as a veritable act of sacrilege". (Reported by Marmontel) [Chopin: ‘Pianist and Teacher’ by Jean-Jacques Eigeldinger] Chopin occasionally pencilled an altered dynamic or variant into the scores of pupils during lessons but it was only his prerogative as the composer-pianist to make any such alterations. On the subject of the sentimentalise/Romantic approach, we know that he shunned all forms of excess or exaggeration and was never a Romantic composer in the Lisztian or Byronic sense. Chopin’s unique musical language and aesthetic belongs to earlier forms of art-music and Classicism. He revered the music of Bach and Mozart above all other composers — the significance of which should not be underestimated when playing Chopin.

It is vital from an artistic and aesthetic standpoint that interpreters allow absolute priority to score directions and remain within the ‘guidelines’ marked on the texts by the composer. These provide our most fundamental link with his intentions. To clarify these ‘guidelines’, albeit simplistically, I refer to score indications/performance directions that form the basis of all interpretations: e.g. that sotto voce and pianissimo/piano markings are not substituted for a ‘preferred’ mezzo piano/mezzo forte/forte, or broad largo/lento tempos exchanged for the faster pace of an Allegretto etc. Chopin was also strict about the observance of his precise phrase/slur markings and agogic signs, whilst pedalling ‘remains a study for life’, as he said, and requires constant consideration. “He plays legato and piano with the pedals and not with his hands!”, was one of Chopin’s many censures.

Chopin’s preferred piano was the ‘silvery thin-toned’ French Pleyel. Having played two of Chopin’s Pleyel pianos, it is evident that the sustaining pedal could be held through harmonic changes without sacrificing the clarity of the notes. Where he indicates extended pedal markings to create a veiled and magical effect, we have to apply some caution on the resonant full-toned concert grand pianos of today if we are to avoid creating an amorphous mass of sound.

Within the wide variety of musical terminology and signs that form our score instructions the expressive scope is comprehensive. It is evident from his manuscripts at least that Chopin left nothing to doubt for his copyists and editors, crossing out his rejected score details with thick webs of diagonal lines that render it impossible to decipher previously written details. In the words of Arthur Hedley, “He hesitated long before attaching a final indication of tempo or expression, so that no pianist has the right to treat these things as a simple matter of personal preference”. To further avoid misunderstanding Chopin would write a message on his score for the engraver to clarify his precise intentions. All of which proved no guarantee against errors from copyists and editors. An example can be found in the first C major Study from Op.10 where original ms copies show only two bars to be played forte - but most editions indicate forte throughout with accents added to the r.h. figurations. Chopin also wrote diminuendos for the re-entry of the main ‘theme’ and at the closing measures. These diminuendos are often shown in editions, but are replaced with crescendos instead by most interpreters. The technical difficulties of playing the widely extended r.h. arpeggios in this Study are certainly facilitated if played relentlessly forte with unwritten sforzando bass octaves on a concert grand piano. But the question arises — is it what Chopin would have wanted? For those who consider that the composer knew best how his music should be performed, the answer is clear. A composers’ manuscript is not merely a piece of graph paper on which we can plot our own design.

There exists the ever-present predilection to sacrifice the ultimate realisation of Chopin’s art to personal whim. Wayward performances displaying an obvious ambivalence towards the text are often claimed as ‘great’ or even ‘definitive interpretations’ either for commercial purposes or from obvious misunderstandings of his music. ‘Virtuosic’ displays of meaningless digital dexterity and the flashiness of excessively fast tempos, hard-hitting aggressively exaggerated dynamics and uncontrolled tempo deviations that debase and trivialise his music have become the facile recipes for many accepted Chopin interpretations. This is not only seriously misleading to the public and untruthful but commits a grave disservice to the composer. The true art of Chopin playing presents a challenge that needs to be thoroughly reviewed and reassessed.

"Simplicity is everything... After having played immense quantities of notes, and more notes, then simplicity emerges with all its charm, like Art’s final seal. It is no easy matter."
Chopin.

(From a statement made by Chopin to his pupil Friedrike Streicher-Muller, who studied with the composer from October 1839 to March 1841 and was the dedicatee of his Allegro de Concert, Op.46).

Great music should surely ennoble the spirit, create a moving experience and provide a lasting impression to reflect upon after the final notes have been played. To allow the composer to be revealed through the re-creation of his music must be the ultimate aim of an interpreter.

^*Volume 6 features a performance of the complete Studies, Op. 10 & Op. 25, on disc one. Disc two is presented as an illustrated discussion on each Study.

© Angela Lear <adminangelalear.co.uk> — www.angelalear.co.uk (used with permission by the Classical Composers Database)

The list of compostions below was derived from Robert Poliquin’s website http://www.uquebec.ca/, and is used here with his permission.

Biography

"Chopin coughs with infinite grace. He is an irresolute man. The only thing about him that is permanent is his cough." [Madame d’Agoult in a letter to George Sand]...

At the time when he came into George Sand’s life, Chopin, the composer and virtuoso, was the favourite of Parisian salons, the pianist in vogue. He was born in 1810, so that he was then twenty-seven years of age. His success was due, in the first place, to his merits as an artist, and nowhere is an artist’s success so great as in Paris. Chopin’s delicate style was admirably suited to the dimensions and to the atmosphere of a salon.[25]

[25] As regards Chopin, I have consulted a biography by Liszt, a study by M. Camille Bellaigue and the volume by M. Elie Poiree in the _Collection des musiciens celebres_, published by H. Laurens.

He confessed to Liszt that a crowd intimidated him, that he felt suffocated by all the quick breathing and paralyzed by the inquisitive eyes turned on him. "You were intended for all this," he adds, "as, if you do not win over your public, you can at least overwhelm it."

Chopin was made much of then in society. He was fragile and delicate, and had always been watched over and cared for. He had grown up in a peaceful, united family, in one of those simple homes in which all the details of everyday life become less prosaic, thanks to an innate distinction of sentiment and to religious habits. Prince Radz’will had watched over Chopin’s education. He had been received when quite young in the most aristocratic circles, and "the most celebrated beauties had smiled on him as a youth." Social life, then, and feminine influence had thus helped to make him ultra refined. It was very evident to every one who met him that he was a well-bred man, and this is quickly observed, even with pianists. On arriving he made a good impression, he was well dressed, his white gloves were immaculate. He was reserved and somewhat languid. Every one knew that he was delicate, and there was a rumour of an unhappy love affair. It was said that he had been in love with a girl, and that her family had refused to consent to her marriage with him. People said he was like his own music, the dreamy, melancholy themes seemed to accord so well with the pale young face of the composer. The fascination of the languor which seemed to emanate from the man and from his work worked its way, in a subtle manner, into the hearts of his hearers. Chopin did not care to know Lelia. He did not like women writers, and he was rather alarmed at this one. It was Liszt who introduced them. In his biography of Chopin, he tells us that the extremely sensitive artist, who was so easily alarmed, dreaded "this woman above all women, as, like a priestess of Delphi, she said so many things that the others could not have said. He avoided her and postponed the introduction. Madame Sand had no idea that she was feared as a sylph..." She made the first advances. It is easy to see what charmed her in him. In the first place, he appealed to her as he did to all women, and then,

too, there was the absolute contrast of their two opposite natures. She was all force, of an expansive, exuberant nature. He was very discreet, reserved and mysterious. It seems that the Polish characteristic is to lend oneself, but never to give oneself away, and one of Chopin’s friends said of him that he was "more Polish than Poland itself." Such a contrast may prove a strong attraction, and then, too, George Sand was very sensitive to the charm of music. But what she saw above all in Chopin was the typical artist, just as she

understood the artist, a dreamer, lost in the clouds, incapable of any activity that was practical, a "lover of the impossible." And then, too, he was ill. When Musset left Venice, after all the atrocious nights she had spent at his bedside, she wrote: "Whom shall I have now to look after and tend?" In Chopin she found some one to tend. ...

When Chopin was convicted of consumption, "which," as she [Sand] writes,

"was equivalent to the plague, according to the Spanish doctors, with their foregone conclusions about contagion," their landlord simply turned them out of his house. They took refuge in the Chartreuse monastery of Valdemosa, where they lived in a cell. The site was very beautiful. ... "We are planted between heaven and earth," wrote George Sand. "The clouds cross our garden at their own will and pleasure, and the eagles clamour over our heads." ...

[A later] deplorable journey to Majorca dates from November, 1838 to March, 1839. The intimacy between George Sand and Chopin continued eight years more.

In the summer Chopin stayed it Nohant. Eugène Delacroix, who was paying a visit there too, describes his presence as follows: "At times, through the window opening on to the garden, we get wafts of Chopin’s music, as he too is at work. It is mingled with the songs of the nightingales and with the perfume of the rose trees."

Chopin did not care much for Nohant. In the first place, he only liked the country for about a fortnight at a time, which is very much like not caring for it at all. Then what made him detest the country were the inhabitants. Hippolyte Chatiron was terrible after he had been drinking. He was extremely effusive and cordial. ...

The absolute contrast of two natures may be attractive at first, but the attraction does not last, and, when the first enthusiasm is over, the logical consequence is that they become disunited. This was what Liszt said in rather an odd but energetic way. He points out all that there was "intolerably incompatible, diametrically opposite and secretly antipathetic between two natures which seemed to have been mutually drawn to each other by a sudden and superficial attraction, for the sake of repulsing each other later on with all the force of inexpressible sorrow and boredom." Illness had embittered Chopin’s character. George Sand used to say that "when he was angry he was terrifying." He was very intelligent, too, and delighted in quizzing people for whom he did not care. Solange and Maurice [Sand’s children] were now older, and this made the situation somewhat delicate. Chopin, too, had a mania for meddling with family matters. He quarrelled one day with Maurice. Another day George Sand was annoyed with her son-in-law Clesinger and with her daughter Solange, and Chopin took their side. This was the cause of their quarrel; it was the last drop that made the cup of bitterness overflow.

The following is a fragment of a letter which George Sand sent to Grzymala, in 1847: "For seven years I have lived with him as a virgin. If any woman on earth could inspire him with absolute confidence, I am certainly that woman, but he has never understood. I know, too, that many people accuse me of having worn him out with my violent sensuality, and others accuse me of having driven him to despair by my freaks. I believe you know how much truth there is in all this. He himself complains to me that I am killing him by the privations I insist upon, and I feel certain that I should kill him by acting otherwise."[29]

It has been said that when Chopin was at Nohant he had a village girl there as his mistress. We do not care to discuss the truth of this statement. ...

The year of the rupture [between Sand and Chopin] was 1847, and before the rupture had really occurred, George Sand brought out a novel entitled Lucrezia Floriani. In this book she traces the portrait of Chopin as Prince Karol. She denied, of course, that it was a portrait, but contemporaries were not to be deceived, and Liszt gives several passages from Lucrezia Florianiin his biography of the musician. The decisive proof was that Chopin recognized himself, and that he was greatly annoyed. ...

She gives us warning that it is "a sad story and sorrowful truth" that she is telling us. She has herself the better role of the two naturally. It could not have been on that, account that Chopin’ was annoyed. He was a Pole, and therefore doubly chivalrous, so that such an objection would have been unworthy of a lover. What concerns us is that George Sand gives, with great nicety, the, exact causes of the rupture. In the first place, Karol was jealous of Lucrezia’s stormy past; then his refined nature shrank from certain of her comrades of a rougher kind. The invalid was irritated by her robust health, and by the presence and, we might almost say, the rivalry of the children. Prince Karol finds them nearly always in his way, and he finally takes a dislike to them. There comes a moment when Lucrezia sees herself obliged to choose between the two kinds of maternity, the natural kind and the maternity according to the convention of lovers.

The special kind of sentiment, then, between George Sand and Chopin, Just as between Lucrezia and Prince Karol, was just this: love with maternal affection. This is extremely difficult to define, as indeed is everything which is extremely complex. George Sand declares that her reason for not refusing intimacy with Chopin was that she considered this in the light of a duty and as a safeguard. "One duty more," she writes, "in a life already so full, a life in which I was overwhelmed with fatigue, seemed to me one chance more of arriving at that austerity towards which I felt myself being drawn with a kind of religious enthusiasm."[30]

-- from Rene Doumic’s "George Sand: Some Aspects of Her Life and Writings" Translated by Alys Hallard, First published in 1910.

(contributed by MariLi Pooler <goldhattedmindspring.com>)

35 solid facts on Chopin. This is from the site: http://clik.to/chopin/ or straight ahead at: http://destined.to/chopinhaven/.

1. Chopin didn’t actually like Fantasie-Impromptu. He thought just little of it (it is thought that he didn’t have any inspiration anymore when he composed it or his frail health just became worse). He never permitted it to be published. But it was still published, though, posthumously.
2. We all know that Chopin and Sand broke up because of a misunderstanding between the two. One very reliable source tells us that Sand in fact maneuvered Chopin into the mother-daughter quarrel. Sand intended it so Chopin will take the side of her daughter. This will then result into an estrangement.
3. Another source contrasts to the one said above. Since Sand left her home, her children became jealous and undisciplined. So one of them plotted the said misunderstanding between the two, which caused the parting.
4. Even before the break-up, Sand and Chopin already grew tensions and had small quarrels.
5. It is assumed that Sand got bored of Chopin and didn’t like him anymore because of his frail health (he was already coughing blood).
6. Chopin really loves Sand. She is the inspiration I said above.
7. Since he really loves Sand, he carried a lock of her hair till his death.
8. Chopin was afraid to be buried alive. He told his sister to cut his body open after he dies. He said this just a few days before he passed away. (Weird!!!)
9. He carries an urn filled with Polish soil. It was given to him by Elsner, his teacher in Warsaw. "May you never forget your native land wherever you may go, nor cease to love it with a warm and faithful heart, - Elsner."
10. He told the people to sprinkle the soil from the urn on his grave. And it was done. He was buried in France but the soil was from Poland.
11. His heart is already in Church of the Holy Cross in Warsaw. It is preserved, and this is again done by his words.
12. The stupid Chopin (forgive me for saying that) actually told his sister to burn all his unpublished manuscripts!
13. When revolution broke out in Poland, he was in Vienna, then. So, he thought he might want to fight the Russians, too. He actually decided to go back since his friend who was living with him did so. But in the middle of the journey, he instructed the driver (if that’s what you call it) to turn back. He was convinced of the argument with his mother that he shouldn’t come back because of his feeble health. (What the! He considered to do that. The stupid idiot. He is just going to contribute to the losses of Poland against the Russians if that were so.)
14. So what he did, he poured his furiousness to the piano and composed the Revolutionary etude.
15. When he came to Paris in 1831, the known composers were so excited of him. They planned his debut concert on January 25, 1832. But the Parisians didn’t like his playing. One of the critics said that his playing was too soft and that there is "too much luxuriance in the modulation, and disorder in the linking of phrases". But some composers like Liszt, Mendelssohn, Berlioz etc. were fond of him.
16. Since the Parisians didn’t like him, he considered the thought of leaving France for America.
17. Then he met Prince Radziwill, who persuaded him to stay, brought him to the salon of Baron Jacques de Rothschild. There, he was praised and was made to teach the children for 20 francs a lesson.
18. He said himself that, "I give myself an impression of a violin’s E string on a bass viol."
19. He also stated, "Our best tuner has drowned himself - now I do not even have a piano tuned as I like it - All I have left is a big nose and an underdeveloped fourth finger."
20. He had small fingers, but as someone stated, it stretched like the jaws of a snake. This astonished most pianists.
21. Chopin was in fact surrounded with such beautiful things. Sand once wrote:

    "To tear Chopin away from so many gateries, to associate him with a simple, uniform, and constantly studious life, he who had been brought up on the knees of princesses, was to deprive him of that which made him live, a factitious life, it is true."

22. Chopin visited many salons each night to play. He goes to about 20-30 salons a day just to satisfy himself.
23. He was "great in small things" even though he was "small in great things" as someone said.
24. Szopen is supposed to be his family name but then it was changed to a more Gallic Chopin.
25. Schumann said that Chopin is "the boldest and most proudest poetic spirit of our time".
26. Chopin adores Mozart. That is why Mozart’s Requiem was played during his funeral.
27. He once stated when he arrived in Paris: "I don’t know where there can be so many pianists as in Paris, so many asses and so many virtuosi."
28. He told Liszt once: "The crowd intimidates me. I feel asphyxiated by its breath, paralyzed by its curious looks, dumb before the strange faces."
29. Berlioz said he was dying all his life.
30. He fell in love with a popular singer but never spoke to her. Then he got secretly engaged to a young lady but her family wouldn’t allow marriage for Chopin’s insubstantial health.
31. The love affair between Sand and Chopin was a scandal for Sand was "that woman" to most of Chopin’s acquaintances.
32. Sand and a few other people once saw him before his piano, his eyes wild and his hair almost standing on end. It was many moments later before he recognized them.
33. He composed his piano concerto no. 2 before his piano concerto no. 1, the second was just published after the first.
34. His first published work was Rondo in C major, op. 1 when he was 15.
35. Chopin once wrote to a friend after his break-up with Sand, "I do my best to work, but it just won’t do. If I go on like this, my new works will not remind you of warbling birds and not even of broken china. - I work a little. I scratch a lot."

(Contribution by <chopin_nethotmail.com>)

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Concerts

[You can submit announcements for concerts with music from Frédéric François Chopin.]

Events

[If you know of an event (date and year) for Frédéric François Chopin, then let me know, and I will add it.]

Links

• http://www.nifc.pl Created and maintained by The Chopin Institute in Warsaw
• http://www.infochopin.com
• http://www.chopin.pl/
• www.angelalear.co.uk This website includes details of Angela Lear’s Chopin CD series (Volumes 1 to 7), audio samples, reviews and biographical information. Volumes 4, 5 & 6 are two-disc sets with ‘gratis’ CD’s presented as illustrated commentaries on Chopin interpretation.
• http://destined.to/chopinhaven/
• http://ne.essortment.com/fredericchopin_reze.htm
• http://www.cs.cmu.edu/afs/cs/user/pscheng/www/chopin.html
• The Chopin Files
• The pianosociety’s Chopin page