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To what extent did nationalism affect the romantic era in music
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Frederic Chopin is one of the most famous and influential composers from the nineteenth century. He is especially known for his piano music now and then. Chopin’s works include three sonatas, mazurkas, waltzes, nocturnes, polonaises, etudes, impromptus, scherzos, ballades, preludes, two piano concertos, a few chamber music, and some Polish vocal pieces. He played an important role in the 19th century Polish nationalistic movement. In particular, his mazurkas and polonaises based on Polish dances best express his nationalistic passion and the musical features of the Polish culture. During the nineteenth century, many new ideas emerged in politics, economy, science, society, ideology, arts and music. The Romantics valued exoticism and nationalism. Nationalism movements were the trend all over Europe, as people emphasized on more distinct cultural styles in music (individualism). Chopin was inspired by this idea and he introduced music that carried the uniqueness of Polish rhythm and melodies to other Europeans. This style in music was very influential. Biography of Chopin According to Chopin’s biographer Karasowki (1906), Frédéric François Chopin was born in Zelazowa Wola, a village west of Warsaw, Poland. According to the parish baptismal record, which was discovered in 1892, it gives his birthday as 22 February 1810, but March 1st 1810 was stated by the composer and his family as his birthday, according to Chopin in a letter of January 16th 1833 (Karasowski, 1906). As a child, Chopin demonstrated the talent of a young Mozart. He started writing verse at age six and started composing music from age seven. His very first composition was a Polonaise in G Minor (1817). It was dedicated to the young Countess Victoire Skarbek (Wein... ... middle of paper ... ...mazurkas and many other pieces that reflected nationalism (Kelley, 1969). He also influenced on his fellow composer Liszt. Liszt makes the use of diminished seventh chords in his ornamental passages, which might have been inspired by Chopin, according to Walker (1967). In the late 19th century, Debussy, Mahler, and Scriabin also followed Chopin’s footsteps. Like Chopin, they made the use of added ninth, triton above the tonic, and the emancipation of the seventh chords. Chopin’s use of the triton above the tonic , emancipation of the chords of the seventh Schumann remarked, “Chopin’s works are guns buried in flowers” (Walker, 1967, p. 258). He was a revolutionary composer. His works are delicate yet harmonically powerful. Chopin expressed the idea of nationalism in his music by creating new forms of harmonies and using distinctive and colorful rhythmical features.
Franz Liszt (1811-1886) was a cosmopolitan European composer and piano virtuoso of the Romantic era. Although it was his place of birth, Liszt spent most of his formative years away from Hungary, though he returned to his homeland many times over the course of his life. Liszt’s allegiance to Hungary can be found in many of his compositions through the Hungarian-Gypsy folk idiom verbunkos; however, most analyses of his “Hungarian” music are oversimplified and exoticist because of a nationalist perspective. Shay Loya, a contemporary Lisztian scholar, asserts that focusing on Liszt’s “Hungarian” works from a purely nationalistic perspective “obscures the real extent of the verbunkos idiom in Liszt’s compositions as well as the complex interaction of that idiom with other topics and styles, and ultimately with other expressions of identity.” With this in consideration, I intend to use a transcultural approach to analyze the influence of verbunkos idiom in the music of Franz Liszt. Liszt incorporated the verbunkos idiom into “Hungarian” works, along with works that were not nationally allied, to further both Romantic and Modernist ideals in his music.
No career, however, open up before him. He had to continue playing at the low sailors? haunts and to eke out his earnings by giving cheap lessons and arranging popular music for the piano or for brass bands. This hack work continued for what must have seemed a distressingly long time, and it was brightened for him only by the composition of three important works for his instrument, the scherzo in E flat minor (Op. 4) in 1851, the Sonata in F sharp minor (Op.2) in 1852 and the Sonata in C major (Op. I) early in 1853.]
Chopin, Kate. The Awakening. 1899. 1865-1914. Ed. Nina Baym and Robert S. Levine. 8th ed. New York: W. W. Norton, 2012. 561-652. Print. Vol. C of The Norton Anthology of American Literature.
...Reisz’s piano performance establishes her as an ideal Bohemian who uses music to constitute self-exploration and individuality. Nonetheless, Chopin communicates to readers that although the act of playing the piano appears generic, it is quite different, especially for anyone who notices this difference, such as Edna, who does not imagine any “pictures” while Reisz is playing as she does during the Farival Twins’ performance. She only internalizes “passions” that are “aroused within her soul” and “beat upon her splendid body.” (Chopin 44) Chopin’s use of music as a symbol allows readers to understand Edna’s slow transition from Victorian customs into a more individualistic mindset.
Chopin’s mother played a key role in developing his love for music by introducing him to music at an early age. In addition to his mother introducing him to music, his father’s career which involved him tutoring Warsaw’s aristocratic families helped to spark Chopin’s love for music. Music was an integral part of most aristocratic families’ lives. So, it is not surprising that music had a great influence on Chopin, who was exposed to aristocratic families. The influence of Music on Chopin’s life had a lasting impact on himself and eventually the rest of
The facilitators of this website have posted Chopin’s Bayou Folk in it’s entirety. This book contains 23 of Chopin’s short stories / essays. It is an exceptional representation of Chopin’s writing and the variety of style she accomplished.
Seyersted, Per, and Emily Toth, eds. A Kate Chopin Miscellany. Natchitoches: Northwestern State University Press, 1979.
Ewell, Barbara C. "Kate Chopin, 1851- 1904." Docsouth.unc. N.p., 15 May 2014. Web. 15 May 2014. .
As with other romantic composers, Chopin made use of chromatic harmony to add richness, depth, and sensuosity to his works (Wright 232). Piano music of the romantic period was enhanced by advancements in the instrument, such as felt covered hammers and sustaining and soft pedals (Wright
Koloski, Bernard, ed. Approaches to Teaching Chopin's The Awakening. New York: Modern Language Association of America, 1988. Print.
Chopin, Kate. The Awakening. The Norton Anthology of American Literature. Ed. Nina Baym et al. 2nd ed. Vol. 2. New York: W. W. Norton & Co., 1985.
The third dance form that Chopin wrote music for was the Mazurka, which again was a Polish dance in triple time, but this time with a dotted rhythm. It was danced in a speed somewhere between that of the Polonaise and the Waltz, though Chopin never intended his Mazurkas to be danced to, they were again to project a view of Poland though a different one to the Polonaise.
The writings analyzed by Kate Chopin and Elizabeth Barrett Browning show bold and radical attitudes that were very uncommon and rare for their time. They, along with other writers of the Victorian Era, have given their literary gift that continues to captivate and inspire readers today. They have undoubtedly influenced many writers that came after their time.
Zaluski, Iwo. "The Warsaw pianist." Contemporary Review Oct. 1999. ProQuest Research Library. ProQuest Information and Learning. 15 Oct. 2004 <http: //proquest.umi. com/>.
As a youth he reluctantly studied law, as much bore by it as Schumann had been, and even became a petty clerk in the Ministry of Justice. But in his early twenties he rebelled, and against his family's wishes had the courage to throw himself into the study of music at the St. Petersburg Conservatory. He was a ready improviser, playing well for dancing and had a naturally rich sense of harmony, but was so little schooled as to be astonished when a cousin told him it was possible to modulate form any key to another. He went frequently to the Italian operas which at that time almost monopolized the Russian stage, and laid t...