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.
Nie ma czego trzeba
Frédéric Chopin Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
W prawo i w lewo ćmi naokoło
Dumka na ustach brząknie i skona
Niemo och niemo bo niewesoło
Dumka na ustach brząknie i skona
Niemo och niemo bo niewesoło
Niekiedy wzrokiem ku niebu wiercę
Zimno o zimno
Lecz puka serce
Że z dumką w insze odlecim kraje
The lyrics to Nie Ma Czego Trzeba by Frédéric Chopin describe the melancholic and introspective state of the singer. The fog is obstructing their vision, both physically and metaphorically, as they cannot see clearly and are lost in thought. The word "Dumka" refers to a Ukrainian folk song form that is characterized by its melancholic and mournful tone, which is used here to describe the song on the singer's lips that abruptly ends with a sigh. The repetition of "Niemo" emphasizes the silence and the absence of words to express the sorrow that the singer is experiencing.
The singer then describes how they sometimes look up towards the sky and feel a gust of wind whistle by them. They do not complain about the coldness of the wind, but their heart begins to beat with sadness as they think about leaving their homeland. This line of the song evokes the feeling of homesickness and the longing for the familiar and the comfortable. The overall atmosphere of the song is one of sadness and longing, which is characteristic of many of Chopin's works.
Line by Line Meaning
Mgła mi do oczu zawiewa z łona
The mist is blowing into my eyes from the depths
W prawo i w lewo ćmi naokoło
It swirls around me to the right and left
Dumka na ustach brząknie i skona
A mournful melody murmurs and fades on my lips
Niemo och niemo bo niewesoło
Silent, oh so silent, because it's unhappy
Niekiedy wzrokiem ku niebu wiercę
Sometimes I gaze up towards the sky
Poświstom wiatru wcale nie łaję
I do not scold the whistling wind
Zimno o zimno
How cold it is
Lecz puka serce
But my heart beats
Że z dumką w insze odlecim kraje
With a melancholy tune, we depart to other lands
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind
@hannastaszak1684
Wspaniałe wykonanie, bardzo dziękuję. ❤️❤️❤️
@teodozjabarra4591
Tylko Istota o Słowiańskiej Duszy może tak doskonale zaśpiewać Chopina ❤️
@hoseCrimes
KOCHAM TO ! <3
@JogoBelIa
Nie mogę zrozumieć skąd aż 38 głosów na nie! Przecież to jest piękne! Pani Kurzak ma tak piękny i głęboki głos, że ja mogę jej słuchać całymi dniami. Wstydziłby się każdy kto dał na nie, świadczy to jedynie o marnym guście
@agnieszkasklepinska5863
Cudowne ❤
@joannadupla3351
Piękne na serio piękne piękny głos
@emiliasiedlecka1342
Pięknie, z wyczuciem i kulturą- bardzo mi się podoba.
@ladomi7962
C'est magnfique, merci Aleksandra!!!!Quelle voix, quelle sensibilité, quelle émotion!
@lihowardh1871
Almost 30 years ago I had lost my tears when I first heard this song and this very song hauntingly sounded inside me when I was alone in Paris ... Aleksandra Kurzak's voice is deep and clear, singing out so well Chopin's lonely soul longing for love and home.
@theothereurope6962
Had the pleasure of meeting Aleksandra, what an amazing powerful singer