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.
Fugue in A minor
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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@gouldhatedbachschromaticfa7494
Isn't Mozart like second only to Bach?
(number inside brackets indicate the age he wrote them)
Galimathias Musicum K32 (10): https://youtu.be/TPcMkmrJams
Missa solemnis in C minor "Waisenhausmesse" KV 139 Gloria (12): https://youtu.be/vnxH8M31F3g?t=1023
Missa solemnis in C minor "Waisenhausmesse" KV 139 Credo (12): https://youtu.be/vnxH8M31F3g?t=1851
Mass in C major "Dominicus Messe" K66 Gloria (13): https://youtu.be/rlQJ2bgK3RQ?t=979
Mass in C major "Dominicus Messe" K66 Credo (13): https://youtu.be/rlQJ2bgK3RQ?t=1869
Te Deum in C major K. 141 [double fugue] (13): https://youtu.be/3HLGJ7m-66U?t=316
Miserere in A minor, [4-part contrapuntal study] K.85 (14) https://youtu.be/_PxqQOUn1v0
KV125 - Pignus Futuræ Gloriæ (16): https://youtu.be/dQ77xyyffjA
Missa in honorem Sanctissimae Trinitatis in C major KV 167 Gloria (17): https://youtu.be/X9T_URjVl5I?t=167
Missa in honorem Sanctissimae Trinitatis in C major KV 167 Credo (17): https://youtu.be/YvCnr15hh78?t=584
Missa in honorem Sanctissimae Trinitatis in C major KV 167 Agnus Dei* (17): https://youtu.be/g2teM5WckzA?t=175
String Quartet No. 8 in F major K. 168 (17): https://youtu.be/3JDrlCG-y_E
String Quartet No. 14 in D minor K. 173 (17): https://youtu.be/q5MVDsqIqCY
Litaniae de venerabili altaris sacramento K243 [double fugue] : VIII Pignus (19): https://youtu.be/U-PDJozhBLI
Misericordias Domini in D minor K.222* (19): https://youtu.be/lEBYufTXJQk
Missa Longa in C K262 Kyrie [double fugue] (19): https://youtu.be/yCDFfN7g_Bk?t=32
Missa Longa in C K262 Gloria [triple fugue] (19): https://youtu.be/yCDFfN7g_Bk?t=408
Missa Longa in C K262 Credo (19): https://youtu.be/yCDFfN7g_Bk?t=1020
Missa Longa in C K262 Sanctus (19): https://youtu.be/yCDFfN7g_Bk?t=1222
Vesperae solennes de confessore in C, K.339 - 4. Laudate pueri Dominum (24): https://youtu.be/c3rDwFFQ6bQ
Missa solemnis in C, K.337 - 5. Benedictus (26): https://youtu.be/ghAa3BJ4b5I
Praeludium and Fugue KV 394 (26): https://youtu.be/m9vVu8rNON4
Suite in C K.399 - I. Overture K399 (26): https://youtu.be/UHgs7-u7wGQ
Sonata for Keyboard and Violin No. 29 in A Major, K. 402: II. Fuga (26): https://youtu.be/mMe4MCsH2WY
Trio (Fuga a 3) in G Major, K. 443 (27): https://youtu.be/UtLOtTDk848
Fugue In G Minor KV 401 (27): https://youtu.be/tXpV-gpgkQw
Fugue In E Flat Major KV 153 (27): https://youtu.be/_2rpWr3etWo
Fugue In G Minor KV 154 (27): https://youtu.be/2t42ZCeLxlk
Grosse Messe in C minor KV 427 Kyrie: https://youtu.be/97Twh_q8lQs?t=22
Grosse Messe in C minor KV 427 Jesu Christe — Cum Sancto Spiritu [double fugue] (27): https://youtu.be/97Twh_q8lQs?t=1719
Grosse Messe in C minor KV 427 Sanctus — Osanna [double fugue] (27): https://youtu.be/97Twh_q8lQs?t=2696
Adagio and Fugue for String Orchestra in C Minor, K. 546 (32): https://youtu.be/PFXF0Aysh4w
Fantasia for mechanical organ in F minor K594 (34): https://youtu.be/Qka_HMc2ajc
Fantasia for mechanical organ in F minor K608 (35): https://youtu.be/Jkh8Re4JUCw
Overture to Die Zauberflote K620: https://youtu.be/c2TGbfzTx2A
Der, welcher wandert diese StraBe voll Beschwerden (35): https://youtu.be/kB56nw1zx-o
Requiem in D minor K626 Introitus: https://youtu.be/sGg2AwyNZA4
Requiem in D minor K626 Kyrie [arguably the greatest double choral fugue not written by Bach]
(35) https://youtu.be/8ybTabIfLgY
Requiem in D minor K626 Domine Jesu (35): https://youtu.be/i4DyyUvZws4
there's more
+ tons of classical counterpoint in string quartets, quintets, symphonies, concertos (K449: https://youtu.be/prcYzX87b9I K459: https://youtu.be/FrCcN3ZftPk )
+ tons of choral, vocal, instrumental canons and canonic minuets
. (minuet from Serenade for winds in C minor K388 contains a canon, a double canon, and an inversion canon https://youtu.be/qk0MV_cJfvQ?t=753 )
Magnificent Counterpoint in the Finale of Mozart's Jupiter Symphony: https://youtu.be/YTxYykhQZbI
The Ingenious Fugal Finale of Mozart's G Major Quartet, K. 387: https://youtu.be/uoXDHOyfJ-k
The Incredible Finale of Mozart's K. 590 Quartet in F Major: https://youtu.be/nkbdUjjfRTQ
Invertible Counterpoint in the Finale of Mozart's D Major String Quintet, K. 593: https://youtu.be/IQbxsGtyc2g
Mozart: Canon for four voices, in C major, Anh. 191, K 562c: https://youtu.be/YC9bKfzXC18
*Beethoven wrote his 9th symohony choral parts from studying these two choral works of Mozart
@yousafe007
+ulysses james What do you mean an invention? Invention is not a type of musical composition like a fugue or a canon. It's a fairly simple fugue in two parts. If you have Bach's inventions in mind, that's just a title.
This was written in the manuscript of inventions and sinfonias by Bach himself:
Straightforward Instruction,
in which amateurs of the keyboard, and especially the eager ones, are shown a clear way not only (1) of learning to play cleanly in two voices, but also, after further progress, (2) of dealing correctly and satisfactorily with three obbligato parts; at the same time not only getting good inventiones, but developing the same satisfactorily, and above all arriving at a cantabile manner in playing, all the while acquiring a strong foretaste of composition.
Provided
Anno Christi 1723.
by
Joh. Seb. Bach:
Capellmeister to
his Serene Highness the Prince of Anhalt-Cöthen.
Bach just named his fifteen pieces inventions just as a title, and by speculating from the above introduction by bach, it gives an impression of musical compositions, which will give the player a great sense of writing in two parts, as he says so..
@pianoman1857
Every Morning, Chopin played Bach, he loved his music et he said that is the best piano (music) school.
@everyhwang1049
Axel Mothe
oh, really?! Chopin must be really IN LOVE with js. Bach.
But I have to say: This is a really terrible fugue though I think if Chopin Is Bach's student , Bach will scold him for composing this :-)
@manuelbes
@@everyhwang1049 honestly this is a romantic/Chopin styled fugue so idk what exactly people should think about it lol
@glenngouldschair390
@@everyhwang1049 contrapuntal, Bach’s fugues are better, and many of Chopin’s works with contrapuntal parts are better. This was a fugue to train his students and was supposed to be burned
@kriteon
Haha I can't believe Chopin wrote a fugue
@yousafe007
+kriteon What the heck? He wrote a fugue? And almost no pedal usage!! Perfecto!
@giacomocasartelli5503
He loved Bach, that's probably why he decided to write a fugue
@everyhwang1049
kriteon * but Bach's Fugues r much nicer though
@klop4228
Guess what: so did Rachmaninoff
@JSBach-pd4yg
Why not, he inspired by myself