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Chopin: Preludes

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Weber, Moritz (13 January 2022). "AKT I / ACTO I / ACT I Männer / Hombres / Men Chopins Männer / Los hombres de Chopin / Chopin's Men". Itamar. Revista de investigación musical: Territorios para el arte (in German). ISSN 2386-8260. Letters from Chopin to Woyciechowski in the period 1829–30 (when Chopin was about twenty) contain apparent homoerotic references to dreams and to offered embraces. Polish composers of the following generation included virtuosi such as Moritz Moszkowski; but, in the opinion of J. Barrie Jones, his "one worthy successor" among his compatriots was Karol Szymanowski. [224] Edvard Grieg, Antonín Dvořák, Isaac Albéniz, Pyotr Ilyich Tchaikovsky, and Sergei Rachmaninoff, among others, are regarded by critics as having been influenced by Chopin's use of national modes and idioms. [225] Alexander Scriabin was devoted to the music of Chopin, and his early published works include nineteen mazurkas as well as numerous études and preludes; his teacher Nikolai Zverev drilled him in Chopin's works to improve his virtuosity as a performer. [226] In the 20th century, composers who paid homage to (or in some cases parodied) the music of Chopin included George Crumb, Leopold Godowsky, Bohuslav Martinů, Darius Milhaud, Igor Stravinsky, [227] and Heitor Villa-Lobos. [228]

The music for the Commodore 64 version of the videogame Ghosts 'n Goblins by Mark Cooksey is based on Prelude No. 20. Chopin has figured extensively in Polish literature, both in serious critical studies of his life and music and in fictional treatments. The earliest manifestation was probably an 1830 sonnet on Chopin by Leon Ulrich. French writers on Chopin (apart from Sand) have included Marcel Proust and André Gide, and he has also featured in works of Gottfried Benn and Boris Pasternak. [244] There are numerous biographies of Chopin in English (see bibliography for some of these). The Bill Evans Trio, with Symphony Orchestra, played this prelude in 1965, with an arrangement penned by Claus Ogerman. For this album, the prelude was titled "Blue Interlude".

Anne Archer's character, Beth Gallagher, plays a portion of the prelude in the 1987 film Fatal Attraction Mysłakowski, Piotr; Sikorsky, Andrzej. "Emilia Chopin". Narodowy Instytut Fryderyka Chopina. Archived from the original on 2 January 2018 . Retrieved 27 June 2021. Eddie, William (2013). Charles Valentin Alkan: His Life and His Music. Farnham: Ashgate Publishing. ISBN 978-1-4094-9364-8. Mozart's Requiem was sung at the funeral; the soloists were the soprano Jeanne-Anaïs Castellan, the mezzo-soprano Pauline Viardot, the tenor Alexis Dupont, and the bass Luigi Lablache; Chopin's Preludes No.4 in E minor and No.6 in B minor were also played. The organist was Alfred Lefébure-Wély. The funeral procession to Père Lachaise Cemetery, which included Chopin's sister Ludwika, was led by the aged Prince Adam Czartoryski. The pallbearers included Delacroix, Franchomme, and Camille Pleyel. [133] At the graveside, the Funeral March from Chopin's Piano Sonata No. 2 was played, in Reber's instrumentation. [134]

Zamoyski, Adam (2010). Chopin: Prince of the Romantics. London: HarperCollins. ISBN 978-0-00-735182-4. According to Adam Zamoyski, such expressions "were, and to some extent still are, common currency in Polish and carry no greater implication than the 'love '" concluding letters today. "The spirit of the times, pervaded by the Romantic movement in art and literature, favoured extreme expression of feeling... Whilst the possibility cannot be ruled out entirely, it is unlikely that the two were ever lovers." [31] Chopin's biographer Alan Walker considers that, insofar as such expressions could be perceived as homosexual in nature, they would not denote more than a passing phase in Chopin's life, or be the result–in Walker's words–of a "mental twist". [32] The musicologist Jeffrey Kallberg notes that concepts of sexual practice and identity were very different in Chopin's time, so modern interpretation is problematic. [33] Other writers believe that these are clear, or potential, demonstrations of homosexual impulses on Chopin's part. [34] [35] Atwood, William G. (1999). The Parisian Worlds of Frédéric Chopin. New Haven and London: Yale University Press. ISBN 978-0-300-07773-5.Hans von Bülow called the prelude "suffocation", due to its sense of despair. In fact, Chopin's last dynamic marking in the piece is smorzando, which means "dying away". But the prelude may have once been given a title. According to George Sand's daughter Solange, who stayed with the composer at the monastery in Mallorca when the preludes were written, "My mother gave a title to each of Chopin’s wonderful Preludes; these titles have been preserved on a score he gave to us." [1] That titled score is lost. But Solange did record the names of the preludes, apparently without assigning the names to the prelude numbers. [2] It is believed that the title "Quelles larmes au fond du cloître humide?" ("What tears [are shed] from the depths of the damp monastery?") corresponds to Prelude No. 4. Two neighbouring apartments at the Valldemossa monastery, each long hosting a Chopin museum, have been claimed to be the retreat of Chopin and Sand, and to hold Chopin's Pleyel piano. In 2011 a Spanish court on Majorca, partly by ruling out a piano that had been built after Chopin's visit there–probably after his death–decided which was the correct apartment. [91] Although this period had been productive, the bad weather had such a detrimental effect on Chopin's health that Sand determined to leave the island. To avoid further customs duties, Sand sold the piano to a local French couple, the Canuts. [90] [n 14] The group travelled first to Barcelona, then to Marseilles, where they stayed for a few months while Chopin convalesced. [92] While in Marseilles, Chopin made a rare appearance at the organ during a requiem mass for the tenor Adolphe Nourrit on 24 April 1839, playing a transcription of Franz Schubert's lied Die Sterne (D. 939). [93] [94] [n 15] George Sand gives a description of Chopin's playing in a letter of 28 April 1839: Numerous recordings of Chopin's works are available. On the occasion of the composer's bicentenary, the critics of The New York Times recommended performances by the following contemporary pianists (among many others): [242] Yundi Li, Seong-Jin Cho, Martha Argerich, Vladimir Ashkenazy, Emanuel Ax, Evgeny Kissin, Ivan Moravec, Murray Perahia, Maurizio Pollini, and Krystian Zimerman. The Warsaw Chopin Society organises the Grand prix du disque de F. Chopin for notable Chopin recordings, held every five years. [243] In literature, stage, film and television Chopin's grave, Père Lachaise Cemetery, Paris Frédéric Chopin was born in Żelazowa Wola, 46 kilometres (29 miles) west of Warsaw, in what was then the Duchy of Warsaw, a Polish state established by Napoleon. The parish baptismal record, which is dated 23 April 1810, gives his birthday as 22 February 1810, and cites his given names in the Latin form Fridericus Franciscus (in Polish, he was Fryderyk Franciszek). [6] [7] [8] The composer and his family used the birthdate 1 March, [n 4] [7] which is now generally accepted as the correct date. [8]

Chopin himself never played more than four of the preludes at any single public performance. [5] Nor was this the practice for the 25 years after his death. The first pianist to program the complete set in a recital was probably Anna Yesipova for a concert in 1876. [8] Nowadays, the complete set of Op. 28 preludes has become repertory fare, and many concert pianists have recorded the entire set, beginning with Ferruccio Busoni in 1915, when making piano rolls for the Duo-Art label. Alfred Cortot was the next pianist to record the complete preludes in 1926.

Preludes. Mazurkas. Nocturnes

The Prelude Op. 28, No. 4 by Frédéric Chopin is one of the 24 Chopin preludes. By Chopin's request, this piece was played at his own funeral, along with Mozart's Requiem. Sara Reardon, "Chopin's hallucinations may have been caused by epilepsy", The Washington Post, 31 January 2011, accessed 10 January 2014.

The Krasiński Palace, now known as the Czapski Palace, is now the Warsaw Academy of Fine Arts. In 1960 the Chopin family parlour ( salonik Chopinów), a room once occupied by the Chopin household in the Palace, was opened as a museum. [26]This prelude was played at Chopin's funeral on organ. [13] Its melancholy melody is primarily given to the left hand. J. Barrie Jones suggests that "amongst the works that Chopin intended for concert use, the four ballades and four scherzi stand supreme", and adds that "the Barcarolle Op.60 stands apart as an example of Chopin's rich harmonic palette coupled with an Italianate warmth of melody". [175] Temperley opines that these works, which contain "immense variety of mood, thematic material and structural detail", are based on an extended "departure and return" form; "the more the middle section is extended, and the further it departs in key, mood and theme, from the opening idea, the more important and dramatic is the reprise when it at last comes". [176] 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". [153] 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. [154] 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. [155] Titles, opus numbers and editions Autographed musical quotation from the Polonaise Op. 53, signed by Chopin on 25 May 1845 Recalls No. 1 in its brevity and textural uniformity. Recalls t The 1988 film Madame Sousatzka features Shirley MacLaine teaching Prelude No. 20 to a gifted piano student.

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