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.
Sliczny chlopiec
Frédéric Chopin Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
O nielada urody
Śliczny chłopiec czego chcieć
Czarny wąsik biała płeć
Śliczny chłopiec czego chcieć
Czarny wąsik biała płeć
Ledwie mrugnie oczyma
Śliczny chłopiec czego chcieć
Czarny wąsik biała płeć
Śliczny chłopiec czego chcieć
Czarny wąsik biała płeć
Gdy pląsamy we dwoje
Patrzą na nas ócz roje
Śliczny chłopiec czego chcieć
Czarny wąsik biała płeć
Śliczny chłopiec czego chcieć
Czarny wąsik biała płeć
Niech się spóźni godzinę
To mi tęskno aż ginę
Śliczny chłopiec czego chcieć
Czarny wąsik biała płeć
Śliczny chłopiec czego chcieć
Czarny wąsik biała płeć
Każde słówko co powie
Lgnie mi w sercu i w głowie
Śliczny chłopiec czego chcieć
Czarny wąsik biała płeć
Śliczny chłopiec czego chcieć
Czarny wąsik biała płeć
On powiedział mi przecie
Żem mu wszystkiem na świecie
Śliczny chłopiec czego chcieć
Czarny wąsik biała płeć
Śliczny chłopiec czego chcieć
Czarny wąsik biała płeć
The lyrics of Frédéric Chopin's song "Sliczny Chlopiec" describe a young, handsome man with a black mustache and fair skin. The singer is clearly enamored with this man and asks what more could they possibly want. The second stanza expresses the joy the singer feels when the handsome man blinks his eyes. In the third stanza, we learn that when the two dance together, they attract attention and interest from onlookers. The fourth stanza reveals the singer's longing for the handsome man when they are apart. The final stanza suggests that the handsome man has told the singer that they mean everything to him.
Overall, the song speaks to the intensity of infatuation and how it can consume one's thoughts and emotions. The object of the singer's affection is described in detail, but we never learn much about the singer themselves.
Line by Line Meaning
Wzniosły smukły i młody
The boy being described is tall, slender, and young.
O nielada urody
Despite being physically unremarkable, he still has charm.
Śliczny chłopiec czego chcieć
He is a beautiful boy that one can't help but desire.
Czarny wąsik biała płeć
He has a black mustache and light skin.
Ledwie mrugnie oczyma
When he blinks, it brings joy to the artist.
Radość całą mnie ima
The singer is completely filled with happiness when around him.
Gdy pląsamy we dwoje
When they dance together...
Patrzą na nas ócz roje
...people are watching them with fascination.
Niech się spóźni godzinę
The artist misses him so much that even an hour delayed feels like torture.
To mi tęskno aż ginę
His absence is so hard on the artist that they are dying of longing.
Każde słówko co powie
Every word he says...
Lgnie mi w sercu i w głowie
...resonates deeply in the artist's heart and mind.
On powiedział mi przecie
He told me after all...
Żem mu wszystkiem na świecie
...that I am everything to him in the world.
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind
@saramizzanu1208
Wzniosły, smukły i młody,
O, nie lada urody,
Śliczny chłopiec, czego chcieć?
Czarny wąski, biała płeć!
Niech się spóźni godzinę,
To mi tęskno aż ginę,
Śliczny chłopiec, czego chcieć?
Czarny wąsik, biała płeć.
W progu mrugnie oczyma,
Na wskroś całą mnie ima,
Śliczny chłopiec, czego chcieć?
Czarny wąski, biała płeć.
Każde słówko, co powie,
Lgnie mi w sercu i w głowie.
Śliczny chłopiec, czego chcieć?
Czarny wąsik, biała płeć.
Gdy pląsamy pod ręce,
To się ledwie nie skręcę,
Śliczny chłopiec, czego chcieć?
Czarny wąski, biała płeć.
Co to będzie och, dalej?
Żebyśmy się pobrali!
Śliczny chłopiec, czego chcieć?
Czarny wąsik, biała płeć.[1]
@cimbalok2972
Beautiful interpretation on the part of the soprano and the pianist. Bravi!
@anajusteen
slicznie!
@wodzimierzratajczak8368
Polecam
@mihiec
To jest tak zajebiste że szczena opada
@mihiec
Więcej
@mihiec
Wiecej
@saramizzanu1208
Wzniosły, smukły i młody,
O, nie lada urody,
Śliczny chłopiec, czego chcieć?
Czarny wąski, biała płeć!
Niech się spóźni godzinę,
To mi tęskno aż ginę,
Śliczny chłopiec, czego chcieć?
Czarny wąsik, biała płeć.
W progu mrugnie oczyma,
Na wskroś całą mnie ima,
Śliczny chłopiec, czego chcieć?
Czarny wąski, biała płeć.
Każde słówko, co powie,
Lgnie mi w sercu i w głowie.
Śliczny chłopiec, czego chcieć?
Czarny wąsik, biała płeć.
Gdy pląsamy pod ręce,
To się ledwie nie skręcę,
Śliczny chłopiec, czego chcieć?
Czarny wąski, biała płeć.
Co to będzie och, dalej?
Żebyśmy się pobrali!
Śliczny chłopiec, czego chcieć?
Czarny wąsik, biała płeć.[1]
@mihiec
Więcej
@mihiec
Wiecej
@mihiec
Więcej