"Guns Smothered in Flowers"
(Schumann's description of Chopin's Music)
My "Take" on Chopin
The Importance of his work (then and now) and why I LOVE
IT!
Introduction
-------First of all, WELCOME to my Chopin
homepage! A few years ago, I stumbled-onto Chopin's music by way of a renewed
interest in playing the piano as an adult. A couple of years ago, I stumbled-upon
the internet. Since I fell in love with both, it became my dream to have
what I hoped would the best and most complete Chopin homepage on the internet.
Hopefully (until the one in Warsaw is done) I've taken some steps toward
that goal. I wanted a homepage that could serve as a resource for people
doing searches on Chopin, for any reason, as well as a source of all kinds
of information and media regarding my favorite composer. So these would
include links to other Chopin-related sites, pictures of Chopin, a complete
list of his works, some recommended books and recordings, MIDI and other
audio files, and some other, more unique information that would be of interest
to the Chopin fan. Almost all of these things can be found on the internet
somewhere or another, but I thought it would be helpful to have all of
them (or at least links to them) in one place. So it is my hope that, among
other things, this page can be a point of reference for anyone wanting
to find things about Chopin on the internet.
-------I have also chosen to add some more
personal thoughts to the site, including the importance of Chopin to the
world of music (then and now), an attempt to describe why some of us love
Chopin so much, and also my personal descriptions of Chopin's many genres
(or compositional styles). Hence, my "essay". It is easy to find
dry, impersonal descriptions of his music, as in the liner notes with CDs,
and many places on the internet. But I thought if you are interested enough
in Chopin to visit my page, and furthermore to bother reading my "take"
on him, you might enjoy reading another Chopin fan's personal thoughts
on his music. So bear in mind that this "essay" is not meant
to be academic, but more personal. I have no formal training in music,
and my thoughts reflect my personal experience with his music, and will
not necessarily back-up the more traditional interpretations of his music.
That being said, thank you for visiting, and I hope you enjoy these thoughts.
-------In my opinion, Chopin was the most
influential composer of the 19th century, of course after Beethoven...
As I see it, he propelled the emerging Romantic era to it's greatest heights.
For me, Chopin was the beginning, middle and end of the Romantic era. Of
course, this might apply more to piano music. But for me he slam-dunked
the whole era, just like Beethoven did with the Classical era. Both men
left a massive wake behind them through which no one could navigate with
equal success. As I understand it, the Romantic era in music was about
a more personal and emotional expression of music. Beethoven shocked the
world with his candid and emotionally charged music and changed music forever.
What came next was an era in which composers had new tools and freedom
to express a whole new sensibility in their music. Beethoven paved the
way for composers to express a far wider range of emotionality. And thus
the Romantic era was born.
-------Earlier music, of course, had emotional
elements, and much of it was profoundly emotional. After all, the experience
of music is inherently emotional. One cannot help having emotional reactions
to even the driest music. What I see as being new about the Romantic era,
among other things, was the focus on emotionality as a primary ingredient
in the music. Of course, opera had been around for a long time, and it
was rich in dramatic and emotional content, but other musical genres of
the day didn't seem to have the freedom to express emotions so directly.
When I read a biography on Chopin (see my links page), I was surprised
to learn that he was influenced primarily by vocal music like that found
in Italian opera . Even at a very early age, his mother's singing would
bring him to tears. It is fitting, however, that this should be the case.
The human voice is naturally the most emotional instrument of all, and
music, as well as the instruments it is played on, has always seemed to
strive to imitate this most moving sound. Chopin brought this "singing"
or cantabile style to his piano compositions from the onset. Even
Van Cliburn's mother advised him to imagine singing the piece he was playing
to guide him to a more effective expression of the piece. A female singer
once even set words to some of Chopin's Mazurkas, to his delight - or so
he told her...
-------Chopin began writing a wide variety
of miniature expressions of an original and poetic nature. He soon wrote
pieces that were among the most succinct and direct expressions of musical
poetry and sentimentality that the world had ever heard. He then began
to develop what I think is the most diverse "palette" or set
of styles for writing music. He wrote Preludes, Etudes, Nocturnes, Mazurkas,
Waltzes, Ballades, Scherzi, Sonatas, Impromptus, Polonaises, concerti,
and a variety of other pieces. Each of these colors in his palette has
a very distinct and unique quality and ability to express an amazing range
of musical thoughts. Even within one of these colors, like the Preludes,
one can find an incredible diversity of expression. He of course did not
invent any of these genres (with the possible exception of the Ballade),
but he elevated them to heretofore unknown heights (although Chopin would
never compare his preludes to those of Bach!) No one had ever heard a Prelude
like Chopin's before, and he changed the meaning of "Etude" forever.
He elevated the Polonaise and Mazurka (folk dances from his native Poland)
to art forms all his own. He didn't even invent the Nocturne, but the word,
"Nocturne" will be forever associated primarily with Chopin.
-------More important than the wide variety
of musical expression at his disposal was his unique ability to move the
listener in such a direct, personal, and succinct manner. Succinct : Chopin
minced few words when he wanted to tell you what he was thinking. Some
of his shortest Preludes are the most complete and perfect expressions
of musical thought to be found. Personal : no composer before him exposed
his most inner self so nakedly. He literally tore himself open and showed
you what was inside of him, no matter how painful, whimsical, lonely, confused,
frightening. Direct : I think both of the aforementioned qualities combine
to have a uniquely powerful and direct effect on the listener. The emotion
or thought in the music is not parenthetical to or an aspect of the piece,
but is the whole of the piece - simple or even complex emotions expressed
in musical terms. This is part of what I find so compelling in Chopin.
Chopin is often called the "poet of the piano" (or something
to that effect). I think this is a fitting analogy. I know little of poetry,
but I understand it to be, among other things, an art form whereby ideas
or thoughts are made even more powerful by making them beautiful. Also,
the ability to transpose a thought or feeling into words, or music, makes
for an enlightening and very moving experience. Chopin's poetry could take
the form of a thirty second prelude or a 30 minute sonata. Many composers
were poets in their own right, but none, I think, to the extent that Chopin
was. This is one of the hallmarks of the Romantic era. Why I think that
Chopin "slam-dunked" the Romantic era was that he personified
it - that no one else came so close to mastering all of it's potential.
-------Chopin, besides showing a wide variety
of styles in which to compose, also displayed a complete mastery over all
aspects of piano composition technically. Chopin's music is extremely rich
texturally and rhythmically. He used syncopation between the right and
left hands to wonderful effect - the melody played on the right hand often
occurs between the time kept by the left. He used trills to a charming
and elaborate extent. This device very common in earlier music was used
by Chopin to a new sensibility in the Romantic era. He often invoked many
other devices to add charm and intrigue to his pieces. Chopin also used
pedaling, particularly the sustain pedal, with much more freedom than anyone
before him to add even more richness and depth to his works. I think, technically,
the element of harmony is where Chopin shined the brightest. All of his
creations are studies in harmony - those which were conventional and many
that few before him were willing to explore. Not only was the left hand
rich in intriguing harmony, but many of his pieces had the right hand carry
the melody in two part harmony throughout the piece. I think the Mazurkas
especially display a wonderful variety of harmonic "flavors"
that are intriguing and bewitching. Chopin's pioneering exploration of
harmony paved the way for a lot of music that followed him.
-------Although my personal tastes go as far
back as Bach in the history of music, I find few after Chopin that belong
to be grouped with the likes of Bach, Haydn, Mozart, and Beethoven. Many
people probably don't think Chopin even deserves to be included in such
auspicious company. This may be a matter of personal taste, which I can
accept. However, I think there is more to it than that. Chopin wrote almost
exclusively for solo piano. For Chopin's legacy this was a blessing and
a curse. It is a blessing in that the world was given a beautiful and extremely
highly developed repertoire on such a universally loved instrument. And
more importantly, the solo piano was the utmost vehicle for Chopin's personal
and poetic style. Anyone who knows well both his solo piano work and his
orchestral compositions will see why he abandoned the orchestra as a vehicle
for his expression. I think the curse is that it has unfortunately relegated
Chopin, in some peoples' mind, to a "piano composer". This is
unfortunate for two reasons. Firstly, those not very familiar with Chopin's
music may not be inclined to devote much time listening to him if they
are not positively disposed to piano music, or have a preference for the
orchestra. (I think this prevents him from getting his fair share of air-time
on many classical music stations as well. Some seem to be unaware of much
of him except for the unfortunately dubbed, "Minute Waltz").
Secondly, this implies that "piano music" is somewhat of a lesser
genre - that the full scope and range of the symphony cannot be experienced
from a solo piano. I think anyone familiar with the majority of Chopin's
compositions already know this to be false.
-------After Beethoven, there was little else
that the Classical era could do to expand upon it, so it faded away. Even
though the Romantic era continued well after Chopin's departure, it's my
own personal opinion that his wake was as awesome as Beethoven's before
him, and there was little else to do with the genre. That's why I call
Chopin the beginning, middle and end of the Romantic period. Through his
vast array of styles and his incredible ingenuity, he simply did it all.
Of course, music wasn't finished, but I think the Romantic era essentially
was. Chopin was a tremendous influence during and after this period in
musical history. So much of what was to follow owes an unpayable debt to
Chopin. Without Chopin there would be no Debussy, Ravel, Faure, and the
later piano music of Brahms, among many others. And Chopin continues to
excersize his influence in the popular music of today. Bits and pieces
of his Preludes and Nocturnes keep finding their way into modern music
of all kinds, even commercials. This is true in the specific as well as
the general sense. Just as Beethoven has, in a roundabout way, found his
way into TV commercials and endless movie soundtracks (by way of Wagner
et al), elements of Chopin's lyrical, catchy style is everywhere in popular
music today. This element of melodic, lyrical composition is perhaps Chopin's
most lasting and important legacy. So Chopin's importance to music is manifold.
-------What I find so immediately attractive
about Chopin, besides the surface beauty of his music, is the redemption
I find in his expressions of emotions and feelings that I thought were
inexpressible. Furthermore, to hear them expressed in the most beautiful
of music can be overwhelming. To hear one's most tender, confused, angry,
ecstatic, wondrous thoughts expressed in the most emotional and direct
of the artforms is not only cathartic but comforting. Chopin's music both
validates and beautifies ones experience of life. Chopin's music is life-affirming.
Even beyond this revelatory experience, Chopin's music reveals the beauty
and wisdom lying beneath the surface of all suffering. In Chopin's music,
sometimes the pain is overcome, sometimes it is not. Sometimes the struggle
is won, and sometimes it is lost. However, there is always a lesson to
be learned from life's hardships, and this is evident in Chopin's music.
There are not answers but subtle clues that there is a higher power in
the universe. Whether or not Chopin pitied himself, his music did not.
He showed that at the very least the human experience is sublime and beautiful.
From the beautiful darkness there usually emerges an understanding - some
sort of transcendence. Chopin, in exploring his thoughts and emotions through
music, always ended up in the same place - pure beauty. Maybe this means
something for all of us - I know that it does for me.
-------After reading a couple biographies
on Chopin, I got the impression that despite the unprecedented and uncompromising
look he gave us into his soul, any final, clear understanding of the man
is ultimately elusive. Chopin admired no one more than Bach, and Bach always
believed that his music was not "his", but meant to be for the
glorification of God. I think that all of the true geniuses in the field
of music, whomever they may be for you, and whatever you define as music,
(and if they *live* long enough) will transcend the desire to describe
the human experience in terms of music and ultimately begin to approach
God himself - which is, I believe, the ultimate expression of humankind,
after all. Perhaps this is a sign of a true genius, or that Chopin was
beyond genius itself. If this beautiful but elusive quality is not of humankind,
but of God himself, then this is Chopin's highest and final gift to us.(Maybe
this is why all the great ones die before their time is up...) In summary,
I think that, for me, Chopin got as close as any of them.
-------"Essay II" is my personal
description of Chopin's many distinct "genres" - not of individual
pieces but their defining and differentiating characteristics, as I see
them. These are similarly not meant to be strictly academic. Again, that
can be found anywhere. I am basically a musical layman, so these thoughts
are based on my own, personal experience with Chopin's music.