Moja Pieszczotka
Frédéric Chopin Lyrics
Jump to: Overall Meaning | Line by Line Meaning
Pocznie szczebiotać i kwilić i gruchać
Tak mile grucha szczebioce i kwili
Że nie chcąc słówka żadnego postradać
Nie śmiem przerywać nie śmiem nie śmiem odpowiadać
I tylko chciałbym słuchać słuchać słuchać
I tylko chciałbym słuchać słuchać słuchać
Lecz mowy żywość gdy oczki z apali
I pocznie mocniej jagody różować
Perłowe ząbki błysną śród korali
Ach! wtenczas śmielej w oczęta poglądam
Usta pomykam i słuchać nie żądam
Tylko całować całować całować całować
The lyrics to Frédéric Chopin's song Moja Pieszczotka describe the joy that the singer feels when their beloved bird (referred to as "my darling" or "my pet" throughout the song) begins to chirp and coo in a cheerful moment. The bird's song is so delightful that the singer doesn't want to interrupt it, instead choosing to simply listen and savor the moment. However, when the bird's eyes brighten and its cheeks flush with a deeper shade of pink, the singer becomes emboldened and gazes into its eyes more confidently. The singer is filled with desire to kiss the bird, and the song concludes with a repetition of the phrase "only to kiss, to kiss, to kiss, to kiss."
On a deeper level, the song can be seen as a reflection of unrequited love. The bird is a symbol of the person the singer loves, and the joy they take in listening to its song represents the happiness they get from being around the object of their affection. However, the singer is hesitant to express their feelings openly, preferring to simply admire their beloved from afar. When the singer does finally express their desire to kiss the bird, it can be seen as a moment of desperation and surrender.
Overall, Moja Pieszczotka is a beautiful song that captures the bittersweet nature of love and desire. It speaks to our universal human longing for connection and intimacy, and reminds us that even the simplest pleasures in life can be sources of profound joy and meaning.
Line by Line Meaning
Moja pieszczotka gdy w wesołej chwili
My pet bird, when in a happy moment
Pocznie szczebiotać i kwilić i gruchać
Starts to chirp, trill, and whistle
Tak mile grucha szczebioce i kwili
So sweetly cooing, chirping, and trilling
Że nie chcąc słówka żadnego postradać
Not wanting to miss a sound
Nie śmiem przerywać nie śmiem nie śmiem odpowiadać
I dare not interrupt or reply
I tylko chciałbym słuchać słuchać słuchać
And all I want is to listen, listen, listen
Lecz mowy żywość gdy oczki z apali
But when her eyes become bright and lively
I pocznie mocniej jagody różować
And her cheeks start to blush deeper
Perłowe ząbki błysną śród korali
Her pearly teeth shining among her corals
Ach! wtenczas śmielej w oczęta poglądam
Oh! Then I bravely gaze into her eyes
Usta pomykam i słuchać nie żądam
I purse my lips and no longer demand to listen
Tylko całować całować całować całować
Just to kiss, kiss, kiss, kiss
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind
Chopin was born Fryderyk Franciszek Chopin in the Duchy of Warsaw and grew up in Warsaw, which in 1815 became part of Congress Poland. Read Full BioFrédéric 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.