Of the many composers I’ve discussed in these articles, Frédéric Chopin has to be one of the most adored and admired. Not only was he a brilliant pianist, but he also had a rare gift for composition too.
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Chopin’s life was tragically brief. He was born in 1810 near Warsaw and died far too young in Paris on October 17th 1849. During this short period, he established himself as one of the most sought-after performers, especially in Paris, as well as a distinguished composer.
Chopin was born into modest circumstances. His father tutored the offspring of aristocratic families and later a teacher at the Lyceum in Warsaw. His family, whilst not professional musicians, were creatively active. His Mother and eldest sister were pianists from whom the young Chopin became inspired to try the piano.
His talents were evident from a very young age as he tried to play familiar songs by ear and compose his own. By the age of eight Chopin was giving mini-recitals to private audiences.
Frédéric Chopin’s Unique Compositional Style
Fortunately for the young composer, his teachers had sufficient foresight and intuition to realise that they had a remarkable student under their care. Instead of imposing a regime of study, they allowed Chopin to develop his piano playing in a way that seemed natural to him.
Even when Chopin entered the Warsaw Conservatory, he was still given the rare opportunity to pursue his instinctive pathway of progress with his first love, the piano.
It’s worth noting, that Chopin was not only honing his skills on the piano, but composing at the same time. A composition he called Polonaise in G minor (published posthumously), Chopin composed at the age of seven.
This was followed shortly by a March that came to the attention of the Russian Grand Duke, Constantine. He had the piece orchestrated for his military band who performed the work on parades. Many other works followed, and this helped Chopin gain access to the prestigious Warsaw Conservatory.
What is abundantly apparent, even from these early pieces, is complete control of the musical material and the form of the music. The Polonaise for instance has focus and direction, flare and ingenuity.
Being very familiar with Chopin’s compositions, I can already hear that special something that makes Chopin the composer he was. Given this was completed at the age of seven, the qualities of his composition and his playing are outstanding.
Composition Training and Early Success
Although the Warsaw Conservatory gave Chopin plenty of leeway regarding his piano practice, they did put him through his paces when it came to composition. Under the gently watchful eye of Polish composer Joseph Elsner, Chopin was given rigorous training in music theory that would have significantly supported his ambitions as a composer.
Elsner was not a man who tried to pigeonhole the young Chopin and impose a stylistic straight jacket on him. Instead, Elsner encouraged his prodigé to master his innate talents, harness his creativity and have the courage to follow his own route to greatness.
The results of this formative education are apparent to us now. Chopin was able to sculpt his compositions in a manner that precisely paralleled his virtuosity at the piano. Both his pianistic style and his methods of playing the piano were unquestionably his.
In 1829 Chopin made his debut performance in Vienna, followed shortly thereafter by a second appearance. His success was huge and secured Chopin a living as well as a reputation he deserved.
Chopin composed his two piano Concertos (oddly enough No.1 in 1830 and No.2 in 1829), as well as his initial set of Études, Op.10 (1829-32). The Études was not only a demonstration of Chopin’s virtuosity and dexterity but also the first window into his methods of playing the piano.
Move to Paris and Musical Circles
In November of 1830, a breakaway group of Polish Cadets mounted an armed rebellion against their Russian masters. The news understandably disturbed Chopin and put pay to his plans to return home to teach and compose.
Chopin changed direction and headed to Paris where he found the Romantic heart of Europe. It was the ideal place for Chopin where he would be surrounded by like-minded creatives and have the time to flourish.
Whilst in Paris Chopin formed professional relationships with the upcoming generation of composers that boasted such legends as Hector Berlioz, Franz Liszt and Felix Mendelssohn.
Chopin also was able to couch favour from the wealthy Rothschild Family who assisted the composer in his time of need. Chopin was able to teach and compose. His teaching, mostly aristocratic ladies, brought him a good income and meant he did not have to endure lengthy tours and strenuous concerts.
Association with George Sand and Artistic Productivity
In 1838, following several unsuccessful dalliances, Chopin began a close association with author George Sand (1804-1876). Sand took Chopin and her two children off to Majorca to rest and recuperate.
Chopin’s health was showing signs of weakening and when the weather became inclement, the Villa’s owner heard a rumour that the composer may have tuberculosis, so they were forced to return to Paris. Here Chopin spent one of the happiest times of his life at Sand’s country house at Nohant some two hundred miles south of Paris.
This time with Sands was perhaps the most productive in his short life. Poetic masterpieces such as the Barcarolle (1845-46), the Ballades in A flat major and F minor (1840-41) and the Sonata in B minor (1844).
These pieces show Chopin’s desire to extend his music harmonically, texturally (even contrapuntally), and structurally. Chopin’s compositions from this period are amongst his most audacious and challenging.
Chopin’s Musical Evolution and Creative Culmination
Chopin was not simply a composer who had an ear for a good melody. In his final period of work, we hear evidence of the integrity and insight Chopin embeds into his compositions. We know he was strongly influenced by Cherubini’s Treatise on Counterpoint & Fugue (1841).
This was a thorough text on two areas of composition in which Chopin perhaps felt he could enrich his compositions. It parallels Chopin’s lifelong passion for the works of JS Bach and although we don’t find Chopin suddenly composing in the style of these past masters we do hear subtle contrapuntal twists and turns in these works.
Chopin adds additional layers of melody in secondary voices bringing subtle textural change to his music.
Chopin’s Late Masterpieces
His final Piano Sonata (No.3), composed in 1844 perhaps serves as a fine example of Chopin’s evolving style as he enters the final years of his life. The work falls into four movements and offers the pianist one of the most comprehensive challenges technically and musically that Chopin ever created.
Of equal importance are the Mazurkas (Op.59/63), and the final three Waltzes Op. 64. In these works, we hear a composer at the peak of his creative powers, poet, composer and virtuoso pianist. One can only wonder where he would have gone next had life dealt him a fairer hand.