Frédéric François Chopin (1 March 1810 – 17 October 1849) was a Polish comp… Read Full Bio ↴Frédéric François Chopin (1 March 1810 – 17 October 1849) was a Polish composer and virtuoso pianist of the Romantic era 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."
Chopin was born Fryderyk Franciszek Chopin in the Duchy of Warsaw and grew up in Warsaw, which in 1815 became part of Congress Poland. A child prodigy, he completed his musical education and composed his earlier works in Warsaw before leaving Poland at the age of 20, less than a month before the outbreak of the November 1830 Uprising. At 21, he settled in Paris. Thereafter—in the last 18 years of his life—he gave only 30 public performances, preferring the more intimate atmosphere of the salon. He supported himself by selling his compositions and by giving piano lessons, for which he was in high demand. Chopin formed a friendship with Franz Liszt and was admired by many of his other musical contemporaries (including Robert Schumann). In 1835, Chopin obtained French citizenship. After a failed engagement to Maria Wodzińska from 1836 to 1837, he maintained an often troubled relationship with the French writer Amantine Dupin (known by her pen name, George Sand). A brief and unhappy visit to Majorca with Sand in 1838–39 would prove one of his most productive periods of composition. In his final years, he was supported financially by his admirer Jane Stirling, who also arranged for him to visit Scotland in 1848. For most of his life, Chopin was in poor health. He died in Paris in 1849 at the age of 39, probably of pericarditis aggravated by tuberculosis.
All of Chopin's compositions include the piano. Most are for solo piano, though he also wrote two piano concertos, a few chamber pieces, and some 19 songs set to Polish lyrics. His piano writing was technically demanding and expanded the limits of the instrument: his own performances were noted for their nuance and sensitivity. Chopin invented the concept of the instrumental ballade. His major piano works also include mazurkas, waltzes, nocturnes, polonaises, études, impromptus, scherzos, preludes and sonatas, some published only posthumously. Among the influences on his style of composition were Polish folk music, the classical tradition of J.S. Bach, Mozart, and Schubert, and the atmosphere of the Paris salons of which he was a frequent guest. His innovations in style, harmony, and musical form, and his association of music with nationalism, were influential throughout and after the late Romantic period.
Chopin's music, his status as one of music's earliest superstars, his (indirect) association with political insurrection, his high-profile love-life, and his early death have made him a leading symbol of the Romantic era. His works remain popular, and he has been the subject of numerous films and biographies of varying historical fidelity.
Over 230 works of Chopin survive; some compositions from early childhood have been lost. All his known works involve the piano, and only a few range beyond solo piano music, as either piano concertos, songs or chamber music.
Chopin was educated in the tradition of Beethoven, Haydn, Mozart and Clementi; he used Clementi's piano method with his own students. He was also influenced by Hummel's development of virtuoso, yet Mozartian, piano technique. He cited Bach and Mozart as the two most important composers in shaping his musical outlook. Chopin's early works are in the style of the "brilliant" keyboard pieces of his era as exemplified by the works of Ignaz Moscheles, Friedrich Kalkbrenner, and others. Less direct in the earlier period are the influences of Polish folk music and of Italian opera. Much of what became his typical style of ornamentation (for example, his fioriture) is taken from singing. His melodic lines were increasingly reminiscent of the modes and features of the music of his native country, such as drones.
Chopin took the new salon genre of the nocturne, invented by the Irish composer John Field, to a deeper level of sophistication. He was the first to write ballades and scherzi as individual concert pieces. He essentially established a new genre with his own set of free-standing preludes (Op. 28, published 1839). He exploited the poetic potential of the concept of the concert étude, already being developed in the 1820s and 1830s by Liszt, Clementi and Moscheles, in his two sets of studies (Op. 10 published in 1833, Op. 25 in 1837).
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." 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. 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.
Chopin was born Fryderyk Franciszek Chopin in the Duchy of Warsaw and grew up in Warsaw, which in 1815 became part of Congress Poland. A child prodigy, he completed his musical education and composed his earlier works in Warsaw before leaving Poland at the age of 20, less than a month before the outbreak of the November 1830 Uprising. At 21, he settled in Paris. Thereafter—in the last 18 years of his life—he gave only 30 public performances, preferring the more intimate atmosphere of the salon. He supported himself by selling his compositions and by giving piano lessons, for which he was in high demand. Chopin formed a friendship with Franz Liszt and was admired by many of his other musical contemporaries (including Robert Schumann). In 1835, Chopin obtained French citizenship. After a failed engagement to Maria Wodzińska from 1836 to 1837, he maintained an often troubled relationship with the French writer Amantine Dupin (known by her pen name, George Sand). A brief and unhappy visit to Majorca with Sand in 1838–39 would prove one of his most productive periods of composition. In his final years, he was supported financially by his admirer Jane Stirling, who also arranged for him to visit Scotland in 1848. For most of his life, Chopin was in poor health. He died in Paris in 1849 at the age of 39, probably of pericarditis aggravated by tuberculosis.
All of Chopin's compositions include the piano. Most are for solo piano, though he also wrote two piano concertos, a few chamber pieces, and some 19 songs set to Polish lyrics. His piano writing was technically demanding and expanded the limits of the instrument: his own performances were noted for their nuance and sensitivity. Chopin invented the concept of the instrumental ballade. His major piano works also include mazurkas, waltzes, nocturnes, polonaises, études, impromptus, scherzos, preludes and sonatas, some published only posthumously. Among the influences on his style of composition were Polish folk music, the classical tradition of J.S. Bach, Mozart, and Schubert, and the atmosphere of the Paris salons of which he was a frequent guest. His innovations in style, harmony, and musical form, and his association of music with nationalism, were influential throughout and after the late Romantic period.
Chopin's music, his status as one of music's earliest superstars, his (indirect) association with political insurrection, his high-profile love-life, and his early death have made him a leading symbol of the Romantic era. His works remain popular, and he has been the subject of numerous films and biographies of varying historical fidelity.
Over 230 works of Chopin survive; some compositions from early childhood have been lost. All his known works involve the piano, and only a few range beyond solo piano music, as either piano concertos, songs or chamber music.
Chopin was educated in the tradition of Beethoven, Haydn, Mozart and Clementi; he used Clementi's piano method with his own students. He was also influenced by Hummel's development of virtuoso, yet Mozartian, piano technique. He cited Bach and Mozart as the two most important composers in shaping his musical outlook. Chopin's early works are in the style of the "brilliant" keyboard pieces of his era as exemplified by the works of Ignaz Moscheles, Friedrich Kalkbrenner, and others. Less direct in the earlier period are the influences of Polish folk music and of Italian opera. Much of what became his typical style of ornamentation (for example, his fioriture) is taken from singing. His melodic lines were increasingly reminiscent of the modes and features of the music of his native country, such as drones.
Chopin took the new salon genre of the nocturne, invented by the Irish composer John Field, to a deeper level of sophistication. He was the first to write ballades and scherzi as individual concert pieces. He essentially established a new genre with his own set of free-standing preludes (Op. 28, published 1839). He exploited the poetic potential of the concept of the concert étude, already being developed in the 1820s and 1830s by Liszt, Clementi and Moscheles, in his two sets of studies (Op. 10 published in 1833, Op. 25 in 1837).
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." 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. 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.
Chopin: Nocture No.2 in E Major Op.62
Frédéric Chopin Lyrics
We have lyrics for these tracks by Frédéric Chopin:
Dwojaki koniec Rok się kochali a wiek się nie widzieli Zbolały serca oboje…
Gdzie lubi Strumyk lubi w dolinie Sarna lubi w gęstwinie Ptaszek lubi p…
Hulanka Szynkareczko szafareczko Co ty robisz stój Tam się śmiejesz …
Melodia Z gór gdzie dźwigali Strasznych krzyżów brzemię Widzieli z d…
Moja Pieszczotka Moja pieszczotka gdy w wesołej chwili Pocznie szczebiotać i …
Narzeczony Wiatr zaszumiał między krzewy Nie w czas nie w czas koniu Ni…
Nie Ma Czego Trzeba Mgła mi do oczu zawiewa z łona W prawo i w…
Nocturne My books lie unopened We’ve barely left a word unspoken Exp…
Nocturnes My books lie unopened We’ve barely left a word unspoken Exp…
Posel Rośnie trawka ziółko Zimne dni się mienią Ty wierna jaskółko…
Precz Z Moich Oczu Precz z moich oczu Posłucham od razu Precz z mego serca I se…
Sliczny Chlopiec Wzniosły smukły i młody O nielada urody Śliczny chłopiec cze…
Smutna Rzeka Rzeko z cudzoziemców strony Czemu nurt twój tak zmącony Czy …
Spiew Z Mogilki Leci liście z drzewa Co wyrosło wolne Znad mogiły śpiewa Jak…
Śpiew z mogiły Leci liście z drzewa Co wyrosło wolne Znad mogiły śpiewa Jak…
Wojak Rży mój gniady ziemię grzebie Puśćie czas już czas Ciebie oj…
Zyczenie Gdybym ja była słoneczkiem na niebie Nie świeciłabym jak tyl…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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@rwvansomeren7846
I don't know if this is true or not. And I am not going to check it out. However, before you say something like this, you should do your homework, and you should be able to answer the following questions:
1. Perhaps Chopin's manuscript is ambiguous at this point and either reading is possible. Have you checked it out?
Fore example: The manuscript of chorale prelude #10 of Brahms opus 122 has a sharp sign (#) written in on the last chord, changing it to an A major chord (Picardy third). Most printed editions do not have this note. Looking at the other minor pieces in this opus, one sees that all of them end with a Picardy third. Therefore, it is generally accepted that the performer of #10 is free to add it or ignore it as he/she sees fit.
2. Perhaps there is an error in one of the editions of this piece. Do you know for a fact that all editions are the same here?
For example, again: One of the editions of the above mentioned Brahms opus 122 has three errors in it. They are well-known to performers, but if you were following along with that edition as I played the organ, you would accuse me of playing a wrong note.
3. If you've check out the above 2 questions, and Rubinstein really did play a wrong note here, what is your motive in pointing this out? To belittle one of the greatest ever pianists? If you play the piano, do you never play a wrong note? Does your reputation approach that of Rubinstein's, that you even dare mention this? Somewhere I came across this statement which applies here: "Laymen do not presume to advise, still less to command, experts."
It is really sad that you allow 1 second out of 320 seconds to spoil this piece for you. Why not just sit back, relax, and enjoy the beauty of this Nocturne, the genius of Chopin, and the superb artistry of Rubinstein. No one plays Chopin better that Rubinstein.
@Boulevard1813
+Adan Cornelius
I'm truly sorry to hear of your friend's suicide. But the choice of music makes perfect sense.
This nocturne is nothing if not profound. That doesn't make your grief go away but this music is so encompassing in its beauty as to summarize all human emotion in a mere 5 minutes. And Artur Rubenstein is the man to pull it off consummately.
It is at once joyful and sad, meditative and probing, nostalgic and centered in the moment. It has all the beauty of life.
Your friend had perfect taste in music going by this incomparable Chopin nocturne.
My condolences.
Peace.
@liceous
+Adan Cornelius i'm so sorry for your loss, your best friend's family's lost and his life which ended too soon.
i've been reading a lot about music theorists' analyses of chopin's music, as well as what chopin believed to be the meaning behind his own compositions.
i just read a bit about this piece, and according to the chopin institute, here is what they have to say about the emotion behind this piece. although the meaning of music (or art in general) is subject chiefly to the individual's interpretation — and certainly it meant quite possibly anything to your friend, and rightly so — this may spark some thought in you and bring you some sort of answer, or at the very least, some memories, of your friend:
"The melody of the second of the Nocturnes from 1846, in the key of E major, proceeds lento sostenuto – slowly and with a stifled voice. It stifles the emotions here, which are present beneath the ostensibly calm declamation, wending its way over accompaniment chords measured out with demureness and implacable consistency. The narrative emerges from silence and returns to silence, after relishing a plenitude of sound. The strength of emotion is articulated by the expression of the melody which complements the initial idea. It explodes, shattering the melody’s calm passage with sudden leaps and runs, before picking up the broken thread a moment later. The hitherto pent-up emotions are given their head in the middle section of the Nocturne. Chopin has this music – restless, even convulsively tense – played forte and agitato, and so like nervous speech. The agitation soon subsides, however, giving way to the principal melody. This comes about in a wondrously beautiful way: the melody returns with greater calm and poise than before the eruption of that inner storm – absent, aloof."
@PianoScenesMoviesandSeries
2:21 This middle section is one of the best things Chopin every composed. It contains so much different emotions. Anger, despair, helplessness, grieving, loneliness etc. This is amazingly well composed.
@manuelbes
I love it too
@pianistofmusic290
This is amazingly well composed! I agree with you.
@UltimateTNTGod
Nice pfp lol
@thesius313
And counterpoint!
@user-hu3iy9gz5j
One of his 100 best themes😉
@TheMarmite09
bliss. Absolute bliss. I feel so special when I listen to Chopin like I am in my own cocoon and the world around me doesn't exist.
@Lasangredemios
My heart melts every time I hear that beautiful color change done by Rubinstein at 2:05 and 2:09. Just hearing his left hand gently play that E major arpeggio and transition into a dark, C# minor portrays a silky and shadowy, but deeply romantic inner feeling.
Only Chopin and Rubinstein could ever express such beautiful arpeggios! Thank you for the upload.
@mozartpiano23
Aren't we lucky to have Chopin, Beethoven, Mozart,Franz Liszt, J.S Bach music. But most dislike the best music "Classical"
@user-hk8ti8po4b
It's actually Chopin's last Nocturne. If you compare Chopin's first Nocturne to this song, there's a lot of difference. Aside from the composition technique, the emotions contained in the song are very different. In my case, I can feel the subtle sentiments in the song. And I always get a little sad.