Lady of the Camellias
One of the most profoundly original composers in history, Frederic Chopin
was not at all a traditional “Romantic” musician; in fact,
most of his music defines a separate category all its own. Born
in Zelazowa Wola, a small city near Warsaw, Poland on February 22, 1810,
Chopin first studied the piano at the Warsaw School of Music, and was
quite proficient on that instrument by his early teens. He played his
first public concert at age seven, and was a published composer at 15.
By the late 1820s, Chopin had won a great reputation as a piano virtuoso
and composer of piano pieces. He toured Europe, giving concert performances
for ecstatic audiences and critics. In 1831 he arrived in Paris for
such a concert and so immediate was his love for this city that he promptly
decided to make it his new home. He was never to return to Warsaw.
In Paris, Chopin was in constant demand as a performer and teacher.
He was a favorite at Parisian salons, and was befriended by many artistic
luminaries of the day, including Hugo, Balzac, Liszt, Berlioz, Schumann,
Dumas and Delacroix. The intense poeticism in his music made him a Romantic
icon to many of his contemporaries, and he was embraced by the society
In 1837, Chopin met the novelist Mme. Aurore Dudevant, who used the
pseudonym George Sand. The two began a mercurial and ultimately tragic
relationship which would prove the most influential and devastating
development in Chopin’s life. By 1847, their relationship had
fallen apart. Heartbroken over the loss of his beloved, Chopin continued
to compose, but was stricken by illness. Sapped by tuberculosis, he
grew too sick to work, and died suddenly on October 17, 1849, at the
age of only 39.
Chopin’s music, no matter what the setting, is instantly recognizable.
His unique sense of lyricism and unparalleled melodic genius produced
some of the mot purely beautiful music ever written, music which would
influence many composers who followed, from Brahms to Debussy. His works
to fall into one of three categories: small “technical”
pieces (or études) for piano, published between
1833 and 1837, larger, more developed works for the piano (nocturnes,
preludes, impromptus, mazurkas, polonaises), and the even larger freely-conceived
works (ballades, fantasies, scherzos). He also wrote several sonatas,
piano concertos and a smattering of music for other instruments. He
was a revolutionary light in Romantic music, the ultimate craftsman
of whimsical melody and heart-rending harmony. In the structure and
form of his compositions, he is quite alone, his sense of balance and
architecture in music was not particularly related to the Classical
or budding Romantic traditions, but seemed to spring from
some unknown well-source. The overwhelming power and influence of his
musical legacy is forever assured.