What Is The Mood Of The Polonaise-Fantaisie

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This piece is typical of Chopin but with a slight twist. The Polonaise-Fantaisie is what some people may consider to be a transitional piece because it sits between the romantic and modern period. But after listening to this piece, it is the epitome of Romantic music. Everything about this polonaise is unique and complex. It takes an extraordinary musician to pull off his music as intended.
Frederic Chopin (1810-1849) was a genius Polish pianist and composer of piano music. As a pianist, his talents were past competition and had an impression on other musicians completely out of comparison to the number of concerts he performed. No one before or since has contributed as many noteworthy compositions to the piano's repertoire, or has come close. …show more content…

The chord progressions induce feelings of sadness and heartbreak within myself. All of these powerful emotions happen in the first seven and a half minutes of the piece. The core problem, though, was that aside from the interesting sections, it mostly bounced around and seemed to have no real drive. It felt as if those chords and phrases were misplaced, anticipating some type of order. It was honestly as if the piece didn’t make sense. But, then, I actually heard the calmness for the first time. In the peace, around 7 minutes, 45 seconds into the music, Chopin halts to breathe, so that it is subtly prominent that he’s skillfully introducing a completely new melody. Chopin was a rule bender, indeed. Amongst Chopin and Beethoven ignoring all the rules of composing, it is an astonishment Classical music persisted “Classical” for the length of time that it did. This melody hypnotizes me. It is as if the beginning of the piece is angry, dissonant build-up so that when you hear the melody, your heart melts on the floor. From this point on in the music, the piece is constantly increasing and building …show more content…

His music, which incorporates the entire range of expression, can be essentially approached in many ways – from the Slavic to the French, from the Romantic to the Classical, from that of the superb to that of the revolutionary. In the second half of the last century, schematic poetry progressively produced to a kind of strapping puritanism. This tremendously sophisticated, Polonaise-Fantasy has seen many pianists come drifting in their efforts to accomplish and reconcile the two parts of the title. The symmetry Chopin achieves between formality (polonaise) and extemporization (fantasy) is excellent So are the extensiveness, sophistication and arrangement of his beautifully Chopinesque tonal palette. Also outstanding is the unforced brilliance of Chopin’s distinct brand of polyphony. The only disadvantage is an occasional delay of metric elasticity, as in the central section where too many mid-bar (and mid-phrase) accents hinder large-scale motion and organizational solidity. Chopin’s liquid-like, spirited rubato and flexible handling of the rhythms make it seem that he is mocking the music, pulling it and manipulating it into a kind of musical dough, but the extremely emotional shapes he creates are all musically suitable and stable with profound accuracy. That fact alone is what makes this pieces fit into the Romantic era so

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