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Frederic Chopin, the Polish composer and pianist, was born on March 1, 1810, according to the statements of the artist himself and his family, but according to his baptismal certificate, which was written several weeks after his birth, the date was 22 February. His birthplace was the village of Zelazowa Will, part of the Duchy of Warsaw. The musical talent of Frederic became apparent extremely early on, and it was compared with the childhood genius of Mozart. Already at the age of 7, Frederic was the author of two polonaises, the first being published in the engraving workshop of Father Cybulski.
The prodigy was featured in the Warsaw newspapers, and little Chopin became the attraction and ornament of receptions given in the aristocratic salons of the capital. He also began giving public charity concerts. His first professional piano lessons lasted from 1816 to 1822, when his teacher was no longer able to give any more help to a pupil whose skills surpassed his own. Wilhelm W? re, a renowned pianist and professor at the Warsaw Conservatory, supervised the further development of Frederic's talent. W?
re would offer valuable, although irregular, advice as regards playing the piano and organ to young Chopin. Frederic later attended the Warsaw Lyceum where his father was one of the professors. He spent his summer holidays in estates belonging to the parents of his school friends in various parts of the country. The young composer listened to and noted down the texts of folk songs, took part in peasant weddings and harvest festivities, danced, and played a folk instrument resembling a double bass with the village musicians; all of which he described in his letters. Chopin became well acquainted with the folk music of the Polish plains in its authentic form, with its distinct tonality, richness of rhythms and dance vigor. When composing his first mazurkas in 1825, as well as the later ones, he resorted to this source of inspiration that he kept in mind until the very end of his life.
Chopin soon began studying the theory of music, figured bass and composition at the Warsaw High School of Music, which was both part of the Conservatory and, at the same time, connected with Warsaw University. Its head was the composer J? z Elsner. Chopin, however, did not attend the piano class. Aware of the exceptional nature of Chopin's talent, Elsner allowed him, in accordance with his personality and temperament, to concentrate on piano music but was unbending as regards theoretical subjects, in particular counterpoint. Chopin, endowed by nature with magnificent melodic invention, ease of free improvisation and an inclination towards brilliant effects and perfect harmony, gained in Elsner's school a solid grounding, discipline, and precision of construction, as well as an understanding of the meaning and logic of each note.
During this period of time, Frederic composed a series of extended works, and after the third year of his studies Elsner wrote in a report: Chopin, Frederic, third year student, amazing talent, musical genius. After completing his studies, Chopin planned a longer stay abroad to become acquainted with the musical life of Europe and to win fame. Up to then, he had never left Poland, with the exception of two brief stays in Prussia. In July 1829 he made a short excursion to Vienna in the company of his acquaintances. Wilhelm W? re, who had been staying there for three years, introduced him to the musical milieu, and enabled Chopin to give two performances in the K?
rtnertortheater, where, accompanied by an orchestra, he played Variations and the Rondo? la Krakowiak, as well as performing improvisations. He enjoyed tremendous success with the public, and although the critics censured his performance for its small volume of sound, they acclaimed him as a genius of the piano and praised his compositions. Consequently, the Viennese publisher Tobias Haslinger printed the Variations on a theme from Mozart. This was the first publication of a Chopin composition abroad, for up to then, his works had only been published in Warsaw. Upon his return to Warsaw, Chopin, already free from student duties, devoted himself to composition and wrote, among other pieces, two Concertos for piano and orchestra: in F minor and E minor.
This was also the period of the first nocturne, etudes, waltzes, and mazurkas. During the last months prior to his planned longer stay abroad, Chopin gave a number of public performances, mainly in the National Theatre in Warsaw where the press? re of both concertos took place. Originally, his destination was to be Berlin, where the artist had been invited by Prince Antoni Radziwill, the governor of the Grand Duchy of Poznan, who had been appointed by the king of Prussia, and who was a long-standing admirer of Chopin's talent. Chopin, however, ultimately chose Vienna where he wished to consolidate his earlier success and establish his reputation. On 11 October 1830, he gave a ceremonial farewell concert in the National Theatre in Warsaw, during which he played the Concerto in E minor, and K.
Gladkowska sang. On 2 November, Chopin left for Austria, with the intention of going on to Italy. Several days after their arrival in Vienna, the two friends learned about the outbreak of the uprising in Warsaw, against the subservience of the Kingdom of Poland to Russia and the presence of the Russian Tsar on the Polish throne. This was the beginning of a months-long Russo-Polish war. Chopin, succumbing to the persuasion of his friend, stayed in Vienna. In low spirits and anxious about the fate of his country and family, he ceased planning the further course of his career, an attitude explained in a letter to Elsner: In vain does Malfatti try to convince me that every artist is a cosmopolitan.
Even if so, as an artist, I am still in my cradle, as a Pole, I am already twenty; I hope, therefore that, knowing me well, you will not chide me that so far I have not thought about the program of the concert. The performance ultimately took place on 11 June 1831, in the K? rtnerthortheater, where Chopin played the Concerto in E minor. The eight months spent in Vienna were not wasted. Strong and dramatic emotional experiences inspired the creative imagination of the composer, probably accelerating the emergence of a new, individual style, quite different from his previous brilliant style. The new works, which revealed force and passion, included the sketch of the Scherzo in B minor and, above all, the powerful Etudes.
Having given up his plans for a journey to Italy, due to the hostilities there against Austria, Chopin resolved to go to Paris. On the way, he first stopped in Munich where he gave a concert on the 28 th of August and then went on to Stuttgart. Here he learnt about the dramatic collapse of the November Uprising and the capture of Warsaw by the Russians. His reaction to this news assumed the form of a fever and nervous crisis. Traces of these experiences are encountered in the so-called Stuttgart diary: The enemy is in the house () Oh God, do You exist? You do and yet You do not avenge.
Have You not had enough of Moscow's crimes or are You Yourself a Muscovite [] I am here, useless! And I am here empty-handed. At times I can only groan, suffer, and pour out my despair at my piano! In the autumn of 1831 Chopin arrived in Paris where he met many fellow countrymen. Following the national defeat, thousands of exiles, including participants of the armed struggle, politicians, representatives of Polish culture and the Warsaw friends of Chopin sought refuge from the Russian occupation in a country and city which they found most friendly. Chopin made close contacts with the so-called Great Emigration, befriended its leader Prince Adam Czartoryski, and became a member of the Polish Literary Society, which he supported financially.
He also attended? might? meetings, played at charity concerts held for poor? might? s, and organized similar events. In Paris, his reputation as an artist grew rapidly.
Letters of recommendation, which the composer brought from Vienna, allowed him immediately to join the local musical milieu, which welcomed him cordially. Chopin became the friend of Liszt, Mendelssohn, Hiller, Berlioz and Franchomme. Later on, in 1835, in Leipzig, he also met Schumann who held his works in great esteem and wrote enthusiastic articles about the Polish composer. Upon hearing the performance of the unknown arrival from Warsaw, the renowned pianist Friedrich Kalkbrenner organized a concert for Chopin in the Salle Pleyel.
The ensuing success was enormous, and he quickly became a famous musician, renowned throughout Paris. This rise to fame aroused the interest of publishers and by the summer of 1832, Chopin had signed a contract with the leading Parisian publishing firm of Schlesinger. At the same time, Wessel published his compositions in Leipzig by Probst, and then Breitkopf, and in London. Having settled down in Paris, Chopin deliberately chose the status of an? might? . Despite the requests of his father, he did not obey the Tsarist regulations, issued in subjugated Poland, and never extended his passport in the Russian embassy.
Consequently, being regarded as a political refugee, Chopin deprived himself of the possibility of legally revisiting his homeland. Around this time, Chopin renewed his acquaintance with the Wodzinski family. Years earlier, the three young Wodzinski sons had stayed in the boarding house managed by Frederic's father. Their younger sister, Maria, now an adolescent, showed considerable musical and artistic talent and Chopin fell in love with her and wanted to marry her and set up a family home of his own in exile. The following year, during a holiday spent together with the seventeen year-old Maria and her mother, he proposed and was accepted on the condition that he would take better care of his health. The engagement was unofficial, and did not end in marriage, for after a year-long trial period, Maria's parents, disturbed by the bad state of the health of her fianc?
who was seriously ill in the winter, and especially by his irregular lifestyle, viewed him as an unsuitable partner for their daughter. Chopin found this rejection an extremely painful experience, and labeled the letters from the Wodzinski family, tied into a small bundle, My sorrow. In July 1837, Chopin traveled to London in the company of Camille Pleyel in the hope of forgetting all unpleasant memories. Soon afterwards, he entered into a close liaison with the famous French writer George Sand. This author of daring novels, older by six years, and a divorcee with two children, offered the lonely artist what he missed most from the time when he left Warsaw: extraordinary tenderness, warmth and maternal care. The lovers spent the winter on the Spanish island of Majorca, living in a former monastery in Valdemosa.
There, due to unfavorable weather conditions, Chopin became gravely ill and showed symptoms of tuberculosis. For many weeks, he remained so weak as to be unable to leave the house but nonetheless, continued to work intensively and composed a number of masterpieces: the series of 24 preludes, the Polonaise in C minor, the Ballade in F major, and the Scherzo in C sharp minor. On his return from Majorca in the spring of 1839, and following a period of recovery in Marseilles, Chopin, still greatly weakened, moved to George Sands manor house in Nohant, in central France. Here, he was to spend much of his time, returning to Paris only for the winters. This was the happiest, and the most productive, period in his life after he left his family home. The majority of his most outstanding and profound works were composed in Nohant.
In Paris, the composer and writer were treated as a married couple, although they were never married. Both had common friends among the artistic circles of the capital as well as with the Polish? might? s.
For years, the couple enjoyed a deep love and friendship, but with time the increasingly hostile attitude of George Sands son, who exerted a strong influence on the writer, caused ever more serious conflicts. A final parting of ways took place in July of 1847. Grievous personal experiences as well as the loss of Nohant, so important for the health and creativity of the composer, had a devastating effect on Chopin's mental and physical state. He almost completely gave up composition, and from then to the end of his life wrote only a few miniatures.
In April 1848, persuaded by his Scottish pupil, Jane Stirling, Chopin left for England and Scotland. Together with her sister, Miss Stirling organized concerts and visits in various localities, including the castles of the Scottish aristocracy. This exceptionally hectic life style and excessive strain on his strength from constant traveling and numerous performances, together with a climate deleterious to his lungs, further damaged his health. In November of 1848, despite frailty and a fever, Chopin gave his last concert, playing for Polish? might? s in the Guildhall in London.
A few days later, he returned to Paris His rapidly progressing disease made it impossible to continue giving lessons. In the summer of 1849 the eldest sister of the composer came from Warsaw to take care of her ill brother. On October 17, 1849, Chopin died of pulmonary tuberculosis in his Parisian flat. Though he was buried in Paris, his heart was removed from his body and was placed in an urn installed in a pillar of the Holy Cross church in Krakowskie Przedmiscie Bibliography Groves Music Dictionary
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