Chopin S World

A new look at the life, times, and music of Polish composer and piano virtuoso Fryderyk Chopin Fryderyk Chopin (1810–49), although the most beloved of piano composers, remains a contradictory figure, an artist of virtually universal appeal who preferred the company of only a few sympathetic friends and listeners. Chopin and His World reexamines Chopin and his music in light of the cultural narratives formed during his lifetime. These include the romanticism of the ailing spirit, tragically singing its death-song as life ebbs; the Polish expatriate, helpless witness to the martyrdom of his beloved homeland, exiled among friendly but uncomprehending strangers; the sorcerer-bard of dream, memory, and Gothic terror; and the pianist's pianist, shunning the appreciative crowds yet composing and improvising idealized operas, scenes, dances, and narratives in the shadow of virtuoso-idol Franz Liszt. The international Chopin scholars gathered here demonstrate the ways in which Chopin responded to and was understood to exemplify these narratives, as an artist of his own time and one who transcended it. This collection also offers recently rediscovered artistic representations of his hands (with analysis), and—for the first time in English—an extended tribute to Chopin published in Poland upon his death and contemporary Polish writings contextualizing Chopin's compositional strategies. The contributors are Jonathan D. Bellman, Leon Botstein, Jean-Jacques Eigeldinger, Halina Goldberg, Jeffrey Kallberg, David Kasunic, Anatole Leikin, Eric McKee, James Parakilas, John Rink, and Sandra P. Rosenblum. Contemporary documents by Karol Kurpiński, Adam Mickiewicz, and Józef Sikorski are included.

Fleeing his native Warsaw, Chopin stopped in Paris in 1831 and stayed there until his death. The author "re-creates the Paris that Chopin knew, providing vivid details about its places, people, and politics, and showing how these affected [Chopin].--Jacket.

Chopin made the piano a solo instrument and gave it an entirely new expression. In this beautifully written account of Chopin’s life, students learn the ideas behind the composer’s art, the social, historical, and cultural events that influenced him and his work, and Chopin’s pivotal role in musical history.

A modern take on a classical icon: this original, entertaining, well-researched book uses the story of when, where, and how Chopin composed his most famous work, uncovering many surprises along the way and showing how his innovative music still animates popular culture centuries later. The Frédéric Chopin Annik LaFarge presents here is not the melancholy, sickly, romantic figure so often portrayed. The artist she discovered is, instead, a purely independent spirit: an innovator who created a new musical language, an autodidact who became a spiritually generous, trailblazing teacher, a stalwart patriot during a time of revolution and exile. In Chasing Chopin she follows in his footsteps during the three years, 1837–1840, when he composed his iconic “Funeral March”—dum dum da dum—using its composition story to illuminate the key themes of his life: a deep attachment to his Polish homeland; his complex relationship with writer George Sand; their harrowing but consequential sojourn on Majorca; the rapidly developing technology of the piano, which enabled his unique tone and voice; social and political revolution in 1830s Paris; friendship with other artists, from the famous Eugène Delacroix to the lesser known, yet notorious in his time, Marquis de Custine. Each of these threads—musical, political, social, personal—is woven through the “Funeral March” in Chopin’s Opus 35 sonata, a melody so famous it’s known around the world even to people who know nothing about classical music. But it is not, as LaFarge discovered, the piece of music we think we know. As part of her research into Chopin’s world, then and now, LaFarge visited piano makers, monuments, churches, and archives; she talked to scholars, jazz musicians, video game makers, software developers, music teachers, theater directors, and of course dozens of pianists. The result is extraordinary: an engrossing, page-turning work of musical discovery and an artful portrayal of a man whose work and life continue to inspire artists and cultural innovators in astonishing ways. A companion website, WhyChopin, presents links to each piece of music mentioned in the book, organized by chapter in the order in which it appears, along with photos, resources, videos, and more.

Fleeing his native Warsaw, Chopin stopped in Paris in 1831 and stayed there until his death. The author "re-creates the Paris that Chopin knew, providing vivid details about its places, people, and politics, and showing how these affected [Chopin].--Jacket.

A modern take on a classical icon: this “luminous book” (Susan Orlean, New York Times bestselling author of The Library Book) tells the story of when, where, and how Chopin composed his most famous work, uncovering many surprises along the way and showing how his innovative music still animates and thrives in our culture centuries later. In this widely-praised book, Annik LaFarge presents a very different Frédéric Chopin from the melancholy, sickly, Romantic figure that has predominated for so long. The artist she discovered is, instead, a purely independent—and endlessly relevant—spirit: an innovator who created a new musical language; an autodidact who became a spiritually generous, trailblazing teacher; a stalwart patriot during a time of revolution, pandemic, and exile. One of America’s foremost pianists, Jeremy Denk, wrote in TheNew York Times: “It is almost impossible for me to imagine a world in which [Chopin’s “Funeral March”] is both fresh and tragic, where its death is real. LaFarge’s charming and loving new book attempts to recover this world…This book took me into many unexpected corners…For a book about death, it’s bursting with life and lively research.” In this “entertaining dual music history and memoir” (Publishers Weekly), a “seamless blend of the musical and literary verve” (Kirkus Reviews, starred review) LaFarge “brilliantly traces the footsteps of Chopin’s life” (Scott Yoo, host of PBS Now Hear This) during the three years, 1837–1840, when he composed the now-iconic Funeral March, using its composition story to illuminate the key themes of Chopin’s life. As part of her research into Chopin’s world, then and now, LaFarge visited piano makers, monuments, churches, and archives; she talked to scholars, jazz musicians, video game makers, music teachers, theater directors, and of course dozens of pianists. She has given us, says pianist, author, and New York Times columnist Michael Kimmelman, “a tour-de-force and journey of the soul.” It is an engrossing, “impeccably researched” (Library Journal) work of musical discovery and an artful portrayal of a man whose work and life continue to inspire artists and cultural innovators in astonishing ways. An acclaimed companion website, WhyChopin, presents links to each piece of music mentioned in the book, organized by chapter, along with photos, resources, and more.

An intimate and thrilling portrait of the piano virtuoso, from Naxos, the world's leading classical music label-with two CDs and exclusive Web access.

In November 1838 Frédéric Chopin, George Sand and her two children sailed to Majorca to escape the Parisian winter. They settled in an abandoned monastery at Valldemossa in the mountains above Palma, where Chopin finished what would eventually be recognised as one of the great and revolutionary works of musical Romanticism - his 24 Preludes. There was scarcely a decent piano on the island (these were still early days in the evolution of the modern instrument), so Chopin worked on a small pianino made by a local craftsman, which remained in their monastic cell for seventy years after he and Sand had left. This brilliant and unclassifiable book traces the history of Chopin's 24 Preludes through the instruments on which they were played, the pianists who interpreted them and the traditions they came to represent. Yet it begins and ends with the Majorcan pianino, which during the Second World War assumed an astonishing cultural potency as it became, for the Nazis, a symbol of the man and music they were determined to appropriate as their own. The unexpected hero of the second part of the book is the great keyboard player and musical thinker Wanda Landowska, who rescued the pianino from Valldemossa in 1913, and who would later become one of the most influential musical figures of the twentieth century. Kildea shows how her story - a compelling account based for the first time on her private papers - resonates with Chopin's, while simultaneously distilling part of the cultural and political history of Europe and the United States in the central decades of the century. Kildea's beautifully interwoven narratives, part cultural history and part detective story, take us on an unexpected journey through musical Romanticism and allow us to reflect freshly on the changing meaning of music over time.