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born in 1810 in Żelazowa Wola
died 17 XI 1849 Paris
Dance miniatures: Mazurkas, Polonaises, Waltzes, Other dances
Non-dance miniatures: Etudes, Impromptus, Nocturnes, Preludes, Berceuse
"My piano has heard only mazury" Chopin
- based on dance and has characteristic ostinato rhythm, metre 3/4 in moderate tempo
- Chopin composed 24 preludes
- influence of Bach's Das Wohltemperiertes Klavier – 24 preludes and fuga
- the tradition of playing prelude before other musical piece as used to do it e.g. Hummel
- independent collection of magnificent piano miniatures
- written in compliance with circle of fifths
- presents various emotions, expressions, type of melody, rhythm, dynamics – contrast between Preludes is characteristic for this opus
- influence of polish folk dances: Mazur, Kujawiak, Oberek - all in triplet meter as 3/4 or 3/8, folk modes (lydian, phyrgian), specific intervals - but Chopin did not quote folk phrase but folk inspiration was very important
- Mazur: energetic, fast, irregular stress
- Kujawiak: slow, cantabile melody
- Oberek: energetic, very fast, joyfull
- more experimental than earlier pieces
- Polonaise A major op. 40 breaks the rule of contrast between movements - trio is as heroic as part A, A'
- Polonaise C minor op. 40 ABA' has shorter part A and only contains some part of main motif with thought from part B
- early pieces were based on compositions made by Józef Elsner and Michał Ogiński
- general structure ABA' (alla polacca - trio [in different tonality] - alla polacca
- till op. 26 (Polonaise E flat minor) Chopin did not change macro construction - contrast only between parts as more dramatic, tensioned trio
- from op. 26 - reflection of polish folklore and expression of national rebellion
General structure: ABA
One of the most original example from opus 28.
Simple melody, tempo, dynamics – depend on harmony based on small interval changes and motoric accompaniament. This piece in particular presents possibility to combine deep expression with smooth and easy melody, is one of elegaic preludes.
- from Polonaise C sharp minor op. 26 no. 1 - contrast of middle part is emphasised by different tonality, texture, nature, tempo
Mieczysław Tomaszewski divides Preludes in 8 categories:
-idyllic; which are monotematic with monotexture, usually in piano and last not longer than 1 minute (e.g. C major, A major, B major, F major)
- elegiac: melody is evolving while accompaniament stays monotonous, generally very slow, maximum 26 bars (e.g. A minor, E minor, B minor)
- etude character: evolutionary development of main texture idea, in fast tempo (e.g. G major, D major, E flat major)
- cantabile character: moderate tempo, form reminds song, in contrast to idyllic or elegiac preludes (e.g. A flat major, B major)
- scherzo character: fast tempo, diversity of dynamic and articulation (e.g. F sharp minor, C sharp minor, E flat minor)
- march character: slow, loftiness (e.g. E major, C minor)
- ballad character: chromatic, very fast, narration (e.g. B flat minor, G sharp minor, F minor, G minor)
- nocturne character: ternary form with reprise, nocturne texture, ornaments (e.g. F sharp major, D flat major)
two forms crossed together: polonaise and fantaisie
- constans narration
- stable tonality
- improvisation quality with folk traditions as rhythmic structure
ABA + Coda
A:
- dynamics contrast
- figurative melody
- fast tempo
- refers to Oberek
B:
- different character
- B major
- dance Mazur
- in Polonaise E flat minor op. 26 no.2 - macro structure is expanded to (ABA)B'(ABA)
Part A: E flat minor - D flat major - E flat minor
Part B: modulation B major
'20s - Warsaw, compositions based on tradition, classical forms, rhythm from national dances, the beginning of individual style
'30s - Paris, individualisation of style, changes of forms, more sophisticated harmony; scherzo, ballada, nocturne
'40s - synthesis, op. 28, changes in sonata-form (Sonata B minor, B flat minor, G minor), binary form
Grave-Allegro, Scherzo-Molto vivace, March funerable, Finale
Exposition
How did the Sonata form change in Chopin pieces?
Exposition starts with Grave with motif that might be heard in following part.
- Theme I which enters in 5th bar (till 24) is in B flat minor and has evolutional character, very motoric. Basically the rhytm and dynamics are mainly responsible for increasing tension. Important is that does not come back in reprise and all development part is based on principal motif.
- The switch to Theme II drives through short modulation. Theme II appears in bars 41-56 and is presented in D flat minor with chord structure but with liric aesthetic. In addition to this, Theme II is based on periodic structure. The following Epilogue has foundation in motif, contains chord structure and movement of triads.
Starting form Sonata C minor op. 4 written in 1829 – the sonata-form in first movement contains both Themes in C minor. Thus there is Theme contrast which is characteristic for exposition. Theme I is based on two motifs in different tonality but becasue of cadenze chors C minor is the point of stability. Theme II (starts in b.59) is also based on C minor but more melancholic than Theme I. In development both Themes are taking part with many modulations. The tonality contrast is shown in reprise, which begins with Theme I in G minor while Theme II is shown in C minor. Thus in Sonata C minor there is no common tonality in reprise which is known from Classical sonata.
Another sonata is also quite interesting – G minor for piano and cello op. 65. In Exposition are presented three Themes: G minor – B major – D minor.
Common for all Sonata pieces is that Theme I is shorter than Theme II, which comes equal with Theme I and usually gets nocturne character – in particular in Sonata B minor.
Most of the time reprise begins with Theme II while Theme I might be heard in the end of the piece as a stretto (e.g. In Sonata B minor op. 58 only part of motiv)
The conception of unrepeated exposition which is proportionally equal to development and reprise (seen as a binary form) occurs in all Sonatas.
Development and Reprise
Sonata form in piano concerto
In development part (from b. 106) is used evolution structure. Principal motif from Theme I is processed while only some part from Theme II might be found. In development the main relation shows between Tonic and Dominant.
Reprise has a shorter form and only Theme II is presented without Theme I. From the bar 215 the expanded Coda has its part.
Binary form:
Sonata B flat minor op. 35 might be also analysied as a binar-form example. The first part includes Theme I and Theme II in Epilogue. The second part contains development with Theme I and Theme II, Epilogue, Theme II and coda.
In this binary form the tension seems different – there is more balance between both Themes.
Chopin has composed Piano concerto no.2 in F minor op. 21 and Piano concerto no. 1 in E minor op. 11, both with sonata-form presented in unusual way.
Concerto in F moll was the first piece where composer used the contrast between Themes in the exposition part. Theme I is basen on F minor while Theme II in A flat major. In reprise Theme I is shown in shorter version and after presentation of Theme II, the modulation drives to F minor.
While in Piano concerto in E minor the common tonality path is switched between exposition and reprise. Thus Theme II is presented in E major in expositon and then in G major in reprise. Traditionally it should be G major in exposition as a major dominant of main tonality and then the parallel.
„[...] the mixing of forms by Romantic composers striving to renovate the Classical formal patterns and to depart fromt the predetermination of the traditional sonata mould. As a result, the principles of different forms coexist in a single composition, overlapping, intertwining and even at times suppresing each other” Anatole Leikin
Chopin knew the rules of sonata-form but intended to create an innovative piece
In general the idea of Classical exposition is to present a conflict between two tonalities based in thematic contrast, while in development harmonic tension and instability increases to be realeased in recapitulation.
In Sonata B flat minor op. 35 Chopin combines together sonata and variation principles, which are subtle and not immediately audible
As an Romantic composer Chopin tried to avoid predetermination of the Classical sonata stucture, thus in exposition and recapitulation might be find techniques common for development part. The lines between sections and their functions of the sonata got blurred
Chopin has composed four ballades which are the supremely new musical genre – Romantic piano ballade.
- unique genre
- one-section work with Chopin's conception of Romantic musical form
- outstanding expression, innovation and Romantic aesthetic.
- narrational character of opening themes and their expressive transformation
- thematic contrast, thematic work, variation technique
All ballades (G minor op. 23, F major op. 38, A flat major op. 47, F minor op. 52) are not connected with classical forms and are higly individual.
Despite of sonata-form archetype, composer used transformation and variation techniques regarding to thematic process, to ilustrate the path of contrasting themes.
Ballade in G minor No. 1 op. 23
Ballade in G minor is closer to nocturnes, etudes and Scherzo in B minor which are deep-rooted in romanticism aesthetic values.
Despite of the balladic atmosphere, Chopin has alludes into it the elements of traditional sonata form
Thematic character and formal function is clearly a part of the First Ballade
The piece starts with Introduction which is preparation for Theme I in Neapolitan harmony and in 8th bar comes Theme I in G minor, form bar 44 till 67 is transition and from 67 till 93 Theme II in E flat major has been presented.
The development section starts in bar 94 and ends in 165. Through all those bars Chopin reinterpreted classical function of development and shows the dramatic idea of ballade genre. In this part there are two main thematic ideas in A minor (Theme I, bars 94-105) and A major (Theme II, bars 106-125), which are often transformated. In addition to those Themes the third one arises in E flat major in bars 138-165.1 Through development part thematic material goes into figuration.
Theme III is in this same tonality with original Theme II but this is the only common aspect. Theme III stands as arabesque in waltz form which connects thematic material and upcoming reprise. In this piece might be found extended thematic arch with waltz as a peak.1
The reprise is not similar to its classical example and shows both themes in mirror reprise. Therefore, Theme II in E flat major (bars 166-193) is presented as the first one and the following Theme I in G minor. As a conclusion and closing section comes Coda (Theme IV) in G minor.