Chopin's original publishers included Maurice Schlesinger and Camille Pleyel. [163] His works soon began to appear in popular 19th-century piano anthologies. [164] The first collected edition was by Breitkopf & Härtel (1878–1902). [165] Among modern scholarly editions of Chopin's works are the version under the name of Paderewski, published between 1937 and 1966, and the more recent Polish National Edition, edited by Jan Ekier and published between 1967 and 2010. The latter is recommended to contestants of the Chopin Competition. [166] Both editions contain detailed explanations and discussions regarding choices and sources. [167] [168] Liszt, Franz (1880). Life of Chopin. Translated by Cook, Martha Walker (4thed.). Project Gutenberg . Retrieved 28 March 2021. Possibly the first venture into fictional treatments of Chopin's life was a fanciful operatic version of some of its events: Chopin. First produced in Milan in 1901, the music–based on Chopin's own–was assembled by Giacomo Orefice, with a libretto by Angiolo Orvieto [ it]. [245] [246] Kallberg, Jeffrey (2006) [1994]. "Small fairy voices: sex, history and meaning in Chopin". In Rink, John; Samson, Jim (eds.). Chopin Studies 2. Cambridge: Cambridge University Press. ISBN 978-0-521-03433-3. (e-book version of 1994 publication) Hedley, Arthur; Brown, Maurice (1980). "Chopin, Fryderyk Franciszek [Frédéric François]". In Stanley Sadie (ed.). The New Grove Dictionary of Music and Musicians. Vol.4. London: Macmillan Publishers. pp.292–298, sections 1–6. ISBN 978-0-333-23111-1.

Bowers, Faubion (1996). Scriabin: A Biography. Mineola: Dover Publications. ISBN 978-0-486-28897-0. 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] A virtuosic prelude, featuring polyrhythms, continuous thirty-second-note figurations in the right hand, and triplet sixteenth notes (alternating with eighth notes) in the left hand. a b Appleyard, Brian (2018), "It Holds the Key", The Sunday Times Culture Supplement, 3 June 2018, pp. 8–9. His nocturnes are more structured, and of greater emotional depth, than those of Field, whom Chopin met in 1833. Many of the Chopin nocturnes have middle sections marked by agitated expression (and often making very difficult demands on the performer), which heightens their dramatic character. [179]

Chopin Prelude 6, op. 28

Used by Federico Mompou for his Variations on a Theme of Chopin, and by Zygmunt Noskowski for Z życia narodu: Obrazy fantazyjne na tle Preludium a Major Fryderyka Chopina. Zank, Stephen (2005). Maurice Ravel: A Guide to Research. New York: Routledge. ISBN 978-0-8153-1618-3. Chopin's études are largely in straightforward ternary form. [180] He used them to teach his own technique of piano playing [181]–for instance playing double thirds ( Op.25, No.6), playing in octaves ( Op.25, No.10), and playing repeated notes ( Op.10, No. 7). [182] With his health further deteriorating, Chopin desired to have a family member with him. In June 1849 his sister Ludwika came to Paris with her husband and daughter, and in September, supported by a loan from Jane Stirling, he took an apartment at the Hôtel Baudard de Saint-James [n 16] on the Place Vendôme. [127] After 15 October, when his condition took a marked turn for the worse, only a handful of his closest friends remained with him. Viardot remarked sardonically, though, that "all the grand Parisian ladies considered it de rigueur to faint in his room". [125]

Chopin sacrificed himself by playing the organ at the Elevation – and what an organ! Anyhow our boy made the best of it by using the less discordant stops, and he played Schubert's Die Sterne, not with a passionate and glowing tone that Nourrit used, but with a plaintive sound as soft as an echo from another world. Two or three at most among those present felt its meaning and had tears in their eyes. [96] Musician Rob Dougan composed and recorded "Clubbed To Death 2", a song which uses the prelude for most of its musical structure. The Radiohead song " Exit Music (For a Film)", which was written for the film Romeo + Juliet, and which featured on the band's album OK Computer, is based on the Prelude No. 4. [5] Whereas Bach had arranged his collection of 48 preludes and fugues according to keys separated by rising semitones, Chopin's chosen key sequence is a circle of fifths, with each major key being followed by its relative minor, and so on (i.e. C major, A minor, G major, E minor, etc.). Since this sequence of related keys is much closer to common harmonic practice, it is thought that Chopin might have conceived the cycle as a single performance entity for continuous recital. [6] An opposing view is that the set was never intended for continuous performance, and that the individual preludes were indeed conceived as possible introductions for other works. [7] Prelude No. 20 in C minor. This prelude, modified slightly, was used as the theme for variations in both Sergei Rachmaninoff's Variations on a Theme of Chopin and in Ferruccio Busoni's Variations on a Theme of Chopin. Załuski, Iwo; Załuski, Pamela (May 1992). "Chopin in London". The Musical Times. 133 (1791): 226–230. doi: 10.2307/1193699. JSTOR 1193699.A lengthy prelude featuring an A–B–A structure with continuous eighth-note movement in the left hand and chords and a nocturne-like melody in the right.

Miller, Lucasta (21 June 2003). "The composer who never grew up". The Guardian . Retrieved 18 December 2020. Sara Reardon, "Chopin's hallucinations may have been caused by epilepsy", The Washington Post, 31 January 2011, accessed 10 January 2014.Ken Skinner recorded a version of Prelude No. 20 as a jazz trio piece for the CD Maroon in 1996 under the title "Farewell Europa". The Prelude Op. 28, No. 15, by Frédéric Chopin, known as the "Raindrop" prelude, is one of the 24 Chopin preludes. It is one of Chopin's most famous works. [1] Usually lasting between five and seven minutes, this is the longest of the preludes. The prelude is noted for its repeating A ♭, which appears throughout the piece and sounds like raindrops to many listeners. [1] Composition [ edit ] 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] Said, Edward (12 December 1995). "Bach's Genius, Schumann's Eccentricity, Chopin's Ruthlessness, Rosen's Gift". London Review of Books. 17 (18) . Retrieved 24 March 2021.

Jakubowski, Jan Zygmunt, ed. (1979). Literatura polska od średniowiecza to pozytywizmu[ Polish Literature from the Middle Ages to Positivism] (in Polish). Warsaw: Państwowe Wydawnictwo Naukowe. ISBN 978-83-01-00201-5. The biography of Chopin published in 1863 under the name of Franz Liszt (but probably written by Carolyne zu Sayn-Wittgenstein) [210] states that Chopin "must be ranked first among the first musicians... individualizing in themselves the poetic sense of an entire nation". [211] On 7 December 1831, Chopin received the first major endorsement from an outstanding contemporary when Robert Schumann, reviewing the Op. 2 Variations in the Allgemeine musikalische Zeitung (his first published article on music), declared: "Hats off, gentlemen! A genius." [57] On 25 February 1832 Chopin gave a debut Paris concert in the "salons de MM Pleyel" at 9 rue Cadet, which drew universal admiration. The critic François-Joseph Fétis wrote in the Revue et gazette musicale: "Here is a young man who... taking no model, has found, if not a complete renewal of piano music,... an abundance of original ideas of a kind to be found nowhere else..." [58] After this concert, Chopin realised that his essentially intimate keyboard technique was not optimal for large concert spaces. Later that year he was introduced to the wealthy Rothschild banking family, whose patronage also opened doors for him to other private salons (social gatherings of the aristocracy and artistic and literary elite). [59] By the end of 1832 Chopin had established himself among the Parisian musical elite and had earned the respect of his peers such as Hiller, Liszt, and Berlioz. He no longer depended financially upon his father, and in the winter of 1832, he began earning a handsome income from publishing his works and teaching piano to affluent students from all over Europe. [60] This freed him from the strains of public concert-giving, which he disliked. [59] Hedley, Arthur (2005). "Chopin, Frédéric (François)". Encyclopædia Britannica. Vol.3 (15thed.). Chicago: Encyclopædia Britannica, Inc. pp.263–264.Eigeldinger, Jean-Jacques (1988). Chopin: Pianist and Teacher As Seen By His Pupils. Translated by Naomi Shochet. Cambridge: Cambridge University Press. ISBN 978-0-521-36709-7. His father, Nicolas Chopin, was a Frenchman from Lorraine who had emigrated to Poland in 1787 at the age of sixteen. [10] [11] He married Justyna Krzyżanowska, a poor relative of the Skarbeks, one of the families for whom he worked. [12] Chopin was baptised in the same church where his parents had married, in Brochów. His eighteen-year-old godfather, for whom he was named, was Fryderyk Skarbek, a pupil of Nicolas Chopin. [7] Chopin was the second child of Nicholas and Justyna and their only son; he had an elder sister, Ludwika, and two younger sisters, Izabela and Emilia, whose death at the age of 14 was probably from tuberculosis. [13] [14] Nicolas Chopin was devoted to his adopted homeland, and insisted on the use of the Polish language in the household. [7] Chopin's father, Nicolas Chopin, by Mieroszewski, 1829 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] Rogers, Francis (1939). "Adolphe Nourrit". The Musical Quarterly. 25 (1): 11–25. doi: 10.1093/mq/XXV.1.11. JSTOR 738696.