Understanding and Interpretation of Chopin's composition

11721326 Hyoung Lok Choi

INHALTSVERZEICHNIS

I. Einletung
II. Hauptteil
1) Chopin’s Life
2) Interpretation
- Nocturne in D-flat Major, Op. 27 No. 2
- Fantasy in F minor, Op. 49
- Scherzo in E Major, Op. 54
III. Fazit

EINLEITUNG

Frederic Chopin (1810-1849), a composer representing romanticism in the 19th century, is a

composer who focused on composing piano expressions as much as possible, especially focusing on
almost piano works compared to other composers.
Chopin can be said to be a piano music composer of the 19th century who developed various com
position techniques of piano in a harmonious way with a colors of romanticism.

For him, the piano is a great instrument for expressing his musical sensibility. because he had his
own way of composing to create various acoustic effects that only the piano could express.

In this paper, I am going to focus on three of Chopin's representative works I chose.

I will study how he expresses himself as a piano through various examples and comparisons. and
additionally I am going to refer my interpretation about three works.

HAUPTTEIL
1) Chopin’s life

Frederic Chopin was born in Zelazowa Wola, 54 km west of Warsaw between his father Nicolas
Chopin and his mother Justina.
In October at that year, Nicolas moved to Warsaw with his family because he became a French
teacher in lyceum. He could play violin and flute, and Justina has a talent in Piano and Singing. So,
There was always a music in Chopin’s home, in this environment, He began to show off his musical
talents and genius as a child.
He started to learn basic piano education at the age of four. At the age of eight, he began compos-
ing polonaise, mazurka, and waltz. He entered Lyceum in 1823 and received full-time music educa-
tion from Joseph Xaver Elsner (1769-1853), the director of the Warsaw Conservatory and the fa-
mous Polish musician of the time.

In 1825, he played in front of the Russian emperor Alexander I, and was given a diamond ring. In
that year, his virgin work, 「 Rondo C Minor, Op. 1 」. In 1828, he went to Berlin and was stimu-
lated to listen to new operas and Handel songs. He composed 「 Sonata No. 1 C Minor 」,「 Po-
lonaise B ♭ Major 」,「 Polonaise F Minor 」, and many other works until 1829.
In 1829, after graduating from the Warsaw Conservatory, he went to Vienna and published a varia-
tion "La ci darem la mano, Op. 2” and had a successful concert.
Robert Schumann (1801-1856) could listen to this work and praised like
“Gentlemen, take off your hat! It is the advent of a new genius! ”

In September 1829, he returned to Warsaw and composed "D ♭ Major Waltz, Op.posth 70-3“
memory of his first love for the singer Konstancia Gladkowska, a student of the Warsaw Conserva-
tory. Subsequently, 「Piano Concerto No. 2 F Minor, Op. 21 '' (1829-1830), 「Piano Concerto No.
1 E Minor, Op. 11 」(1830) and held a premiere concert. In the fall of the same year, 「Etudes, Op.
10」 already began to compose, and in November 1830 he left Poland and arrived in Vienna, where
he held numerous concerts.
However, the news of the revolution in his homeland Poland was reported, and Chopin had a lot of
conflict, but he was left alone on the persuasion of his friend Tytus Wojciechowski (1808-1879).
He persuaded that Chopin have to serve in his country with music.
Chopin was anxious about the situation at the time, and eventually his concert of April 1831 was
unsuccessful. Upon hearing that the Polish Revolution was overwhelmed by Russia, he spends his
days in disappointment and despair. At the time, Chopin felt a longing for his homeland, anxiety
about his family, solitude in a foreign land, and was economically destitute.

In September 1831, he moved to Paris, where he taught piano to the children of upper-class citize
ns and many nobles. He naturally interacted with many artists and intellectuals as his friendship
increased. Among them, musicians like Felix Mendelssohn (1809-1847), Franz Liszt (1811-1886),
Louis ector Berlioz (1803-1869), and pianist Friedrich Kalkbrenner (1785-1869) helped a lot for
him. He also encountered the romantic free ideas of French artists.

In 1834, Chopin made two nocturnes, 「Nocturne Op. 27, No. 1 」,「 Nocturne Op. 27, No. 2, 4
Mazurkas Op. 24 」, and in the summer of 1835, he met his parents at Karlsbad.
In Dresden, he met the people of Maria Wodzinska's family who were close friends in Warsaw.
When he fell in love with Wodzinska, the following year Chopin courted her, and after a while they
were engaged. However, because his neighbors, including Countess Vojinska heard that Chopin's
health was not good, They opposed marriage. Eventually, he experiences a second demonstra-
tion.
 In the fall of 1836, George Sand was introduced by Liszt at Maria d'Agoult's house, but Chopin
didn't see much appeal from her at first, and they never met again until the following year. In the
fall of 1838, he went to Majorca Island for convalescence with Sand’s two children. The life in the
island was happy at first, but Chopin's health deteriorated as he stayed at the Valldemossa
Monastery in the second half.

But, He regained his health because of Sand’s dedicated care, he completed Prelude. Op. 28 and
began to compose 「Scherzo in C sharp minor, Op. 39」.

 During this period, Chopin's music reached its peak in terms of creation, and his talent as a com-
poser was further developed to create a distinctive works, especially his Polish features appeared in
Mazurka and Polonaise.

In addition, it shows a lot of chromatic compositions, which in a sense were influenced by Bach
and Mozart.

However, the relationship with Georges Sand eventually broke up due to conflict, jealousy and
hostility. This made Chopin's health worse. Even in such a situation,He composed a later works like
a 「Barcarolle Op. 60」, 「Polonaise Fantasy Op. 61」.

Chopin went to England in 1848 with his last recital in Paris, and when he arrived in London,
Chopin was recognized for his skills through public concerts and salon concerts, while devoting
much effort to education.

On October 17, 1849, he passed away. On October 30, Mozart's Requiem was played in front of the
people gathered at the funeral.

2) Interpretation

- Nocturne in D-flat Major, Op. 27 No. 2 (1834)

First of all, I think this work of the 19 Nocturnes has the most elements like an aria. I think I can
feel Chopin’s distinctive emotion and this is the most suitable work due to the nature of the noc-
turne genre.

Compared to the chromatic language and complicated harmony, This nocturne can be
monotonous, but rather, it can be a bit simpler, so I want to sing that kind of emotion
that is serious but not too deep because I think it contains the beauty and pure emotio
n of the blank space.

We look at my specific interpretation of this work.

To compare the feeling with Op.27 No.1, No.1 is C-sharp minor, No.2 is D-flat Major,
and enharmonic is the tonic. It gives a contrasting feeling between Minor and Major, It
has the same characteristics as the six-eight-beat system and the accompaniment patte
rn of the left hand arpeggio.
  Arpeggio is a technique that Chopin used very often, In particular, in these two song
s, there is also the weight given by C # (Db), which makes it feel as if the base under w
hich the boat floats is the ocean.

So, based on Db's bass sound, we should use our thumb very carefully and listen to the Db-Ab-Db
line in the rest of the sound, so that the arpeggio accompaniment is more stereoscopic. The role of
the left hand is very important in this nocturne, so I should pay attention to these details.

The sound of the fingers, except for the sound of the left thumb, can be another melody line, and
the melody line is a composition of important notes that also indicate a transition of harmony.
That’s why we have to play with a delicate sense of those notes.
This theme is repeated three times. We should be aware of the emotional change in each parts.

At the beginning, the melody of the right hand which spreads to the distance with a bright and
vivid tone on the very calm lake, should appear in piano (p). And In the second recurring passage,
we have to sing like a much softer echo as a pianissimo.
And before the third repetition, a heightened atmosphere unfolds like a development section (also
referred to as Forte (f) in Paderewski Edition), and it must show the climax like a big wave.

- Fantasy in F minor, Op. 49 (1841)

<Fantasy in F minor, Op. 49> was completed and published in 1841. He composed this piece at
Sand George’s home in Paris. This piece which recognized as a masterpiece can express fantastic,
huge scale including just recitativo (story-telling). At that time, He was very comfortable because of
Sand’s protection.
 Fantasy in the music means also very free imagination and expression of composer.
in Romanticism Generation, Many composer tried to accomplish the purpose that express their vari-
ous musical ideas freely.
They often used to use sonata’s form, but think outside of classical sonata’s form. That’s why com-
poser could express own personality and feeling.

Chroale Section

This piece takes about 13-14 minutes to play. Fantasy begins with a marching theme based on har-
mony of F minor in serious mood. After a theme like Introduction for 3 minutes, Passage with
arpeggio is gradually increased.
Atmosphere is exploded with Agitato and makes an energetic mood. And It is connected to march-
ing theme, but this atmosphere absolutely different than introduction theme. It is much brighter and
enterprising. And a slow chorale section occurs in B major with a beautiful and godly feeling. Back-
ing to the previous theme, It repeats like a reprise and sings by a short recitativo and arpeggio. And
It ends with a cadence in A-flat Major, the relative key in F minor.
 Fantasy in F minor, Op. 49 is an expansively constructed work belonging to the atmosphere of dra-
matic genres as the ballades and the scherzos of Chopin. However, Chopinʼs Ballade implies that a
old tale, legend. But Fantasy is focused on a dramatic episode of his ownʼs life. It does not mean a
personal expression, but composer can become a just teller in the story. And Unlike a sonata form,
There is no typical form in Fantasy. It means that Fantasy unquestionably implies a freedom from
musical rules, Romantic expression.

There is many emotional elements in this piece. And that elements very changeable. Performers
should not be calculative those various emotional elements but express them in a natural and spon-
taneous feeling appropriate for the name of Fantasy. That part is quite difficult. In particular, it is
very important and difficult to lead from the beginning section of slow marching style to agitato and
fast part like a marching style with a very long breath. It will be interesting to listen to how the
emotion changes, thinking the information of this piece.

I think every feeling of his love is condensed into this piece. “Fight, Reconciliation, Love” We can

listen the various transition of emotion through this piece.

Everyone’s interpretation is different. But in my case, I would like to express the emotional line
like a panorama. Even though the section can be divided in part, We have to see the music as a
whole and lead to a very long breath.

- Scherzo in E Major, Op. 54

  ’Scherzo’ is mainly used for the sonata form and the third movement of the symphony, string
quartet and it features three beats with a fast tempo, a violent rhythm, and a sudden change in mood.
These scherzos were first written by Haydn instead of Minuet, and Beethoven wrote in earnest
from his second symphony.

In romanticism, a technical piano piece with a dramatic and humorous character is sometimes re-
ferred to as a scherzo, and is ternary form of a fast three-quarters beat.

Chopin’s Scherzo Op. 54, the work of which his happy emotions were most actively revealed out-
ward, but also the most intricately entangled, is the only major (E major) of the four scherzos. It is a
very difficult work to interpret the whole consistently as whimsy and splendor coexist.
The mixture of two and three beats is also reminiscent of [A-Flat Major Waltz Op.42]. After a ten-
der and energetic atmosphere, it appeared in the middle part of ‘Piú lento’, which maximize the
contrasting effect like an interlude while portraying the dark shadow.

Generally, Chopin’s Scherzos has an features which very sharp, colorful and enterprising impres-
sion.

It is very important to see a measure much bigger than focusing on each one measure, so it can
make a very fast speed and give a feeling of rapid development. It can be said that the personality of
Scherzo was expressed in his own way.

Op. 54 is the only major in Chopin’s Scherzos, and it begins with a much softer, happi
er and refreshing feeling than the previous ones.
 It was very difficult to perform at first time. Unlike the other scherzos, I thought this pi
ece feels quite different.

First of all, We should listen four measures like an one line. If we listen carefully to each measure,
the development of this piece can be very boring easily. And since there are so many repetitions, we
need to recognize the parts that change minutely and we should make a special sound that parts.

For example, the first theme is repeated, but develop this piece transposing the key.

Like this way, Even though it is same motives, We can express completely different characters us-
ing the pedal, tone of sound, emotion.
This scherzo can divide the part that A-B-A-coda, mainly A part is Presto, it is a very fast tempo,
brillant and virtuosic. In contrast, B-part is slow theme that we can sing more.
 In the ‘Piu Lento’ part, the simple left-handed arpeggio and the right-handed solo melody does not
have a thicker or richer texture than other Scherzo B-parts, but has a much deeper sense of depth.

  Nocturne Op.27 No.1, which the same key (C# minor), is also associated
As you can see from the sheet music, the arpeggio of the left hand seems to express the tranquil
and calm movement of the sea, and the right hand is reminiscent of a small boat floating around it.

The characteristic that can be seen in the accompaniment of the left-handed arpeggio, which is
bounded by two measures, is created a dotted rhythm that seems to be slightly misaligne
d, because the last note is a quaver. When we play this part, we should feel this rhythm very natu-
rally like the movement of the sea.
Also, because it is a melody line that extends with a very long breath, It requires very concentration
as a performer.
This theme is also repeated about three times, and the emotion line is gradually amplified by mak-
ing slight changes in the repeated passage. In the last repetition passage, Forte also appeared a little
more, there is the feeling of excitement and the feeling of waves getting stronger.

There is something to express a subtle complexity through a few transition, the notes gradually
rises and the arpeggio grows bigger and wider, When reaching the peak, and finally, based on the
B-tone bass of the left hand, It goes towards recapitulation with a dominant sound of the E Ma
jor or minor. The arpeggio of the right hand like the dominant harmony of e minor unfolds bril-
liantly. And the B-C vibration of the left hand meets the right hand and the Unison, and the B-C vi-
bration changes to the B-C # vibration. Theme one repeats with them.

As if the dark clouds of the minor chord gradually disappear, the sunlight of the major chord
blooms, we recognize its harmony and naturally goes towards recapitulation through the change of
these notes. In recapitulation, the same passage of exposition continues, but it reduces the boredom
by subtly changing the musical symbol, harmony, and key. And again, C#-B's left hand like a v
ibration and right-handed tierce progress alternately, and the coda continues.

  Compared to previous works, Coda is not an explosive or splendid progression, but it

is a soft and strong image. And with a staccato passage that adds a few more measure
s, Coda was amplified through the rhythmic intersection of the quadruplet in the left h
and and the arpeggio in the right hand, adding a magnificent ending to the grandeur.
 FAZIT

In this paper, the historical background and musical tendency of Frederic Chopin, a representative
composer of romanticism in the 19th century, were focused on three works: Nocturne Op. 27 No. 2,
Fantasy Op. 49, and Scherzo Op. 54.

Nocturne is the most introverted, pure and subjective of Chopin's work. Although influenced by
John Field, who established the genre of Nocturne, Chopin's Nocturne made it into an art form as he
enriched the harmonic composition. The originality stands out from the accompaniment pattern
over a wide range in Nocturne and use of piano decorative sounds.

Fantasy in F minor, Op. 49 has a similar atmosphere to 'Ballade’, which deals with fantastic sub-
jects and freely unfolds the inspiration of the composer and is not bound by the existing laws.

Chopin's fantasy is a masterpiece that shows his musical characteristics well, and can be called
Fantasie in free sonata form, consisting of Introduction, Presentation, Development, Recapitulation,
and Coda.

As a result of analyzing various musical features in this song, Chopin harmonized the formal
beauty of the classical music and the elements of romantic color, using the unique melodic, har-
monic, and improvisation techniques.

 The cantabile-style melodies are lyrical and emotional, and chords often consist of non-harmonic
and discordant, augmented sixth and persimmon seventh chords, and chromatic chords. These
chords proceeded in harmonic sequence, tierce relationship, enharmonic, chromatic, or transition,
showing an improvised effect. The rhythm consists of marching rhythm, dotted rhythm, syncopa-
tion, tempo rubato, and 2:3 passages, and frequent use of triplets and arpeggios.

These improvised and bold techniques can be said to be unique and romantic elements unlike the
previous era. By analyzing Chopin's fantasy that these characteristics are well combined with the
classical form, It should be understood as a work that can help our performance and correct
interpretation about his musical inclination and composition techniques.

 Along with the characteristics of Scherzo, which means a virtuosic piano work with a dramatic and
humorous character, many of Chopin's musical characteristics were reflected.

Although this scherzo has bright and splendid aspects as the only Major key of Chopin's four scher-
zos, the emotions contained in them are very deep. It is no exaggeration to say that only the B part
starting with Piu Lento can describe the overall atmosphere of this work. Rather than focusing only
on the superficial feelings of major, I think that we can feel the true taste of this work by looking at
what differentiates it from the other three scherzos through the atmosphere, harmony, and melody.

 Chopin's works use a variety of techniques, such as Harmony in a bright major or Harmony in a
dark minor key, staccato, etc., but I always think that Chopin's work is filled with longing and sor-
row. Since it is a romantic era where they can express their feelings more freely, If the performer
also thinks that approaching Chopin's music based on thoughts that are more detailed and sensitive,
It never thinks that it is the wrong direction.
  In a modern society that is becoming more and more desolate about emotion, we need a virtue to
be more honest with emotions about this romantic music and rationally manage based on these
things.

ZUSAMMENFASSUNG

Chopin's Werke umfassen Lügenlied, Cellosonate und Klaviertrio, aber die wichtigsten
sind etwa 200 Klavierwerke.

Neben den zwei Konzerten und drei Sonaten gibt es eine überwältigende Anzahl roma
ntischer Requisiten wie Vorspiel, Etüde, Ballade, Nocturne, Impromptu, Walzer, Polona
ise und Mazurka.

Obwohl der Einfluss von Hummel und John Field in der Arbeit etwas sichtbar ist, ist sei
n Stil fast einzigartig genug, um als nahezu unabhängig geformt angesehen zu werde
n.

Das Merkmal des Werkes ist eine Homophoniekomposition durch sanfte Melodie, und
um der Bewegung der Melodie Freiheit zu geben, besteht die Tendenz, die Bewegung
zu unterdrücken, indem die Begleitung zu einem harmonischen Muster gemacht wird.
Es verwendet eine ziemlich freie Struktur und bringt die Ära voran, indem dissonante Kl
änge und chromatische Geschmäcker in Akkorden verwendet werden.

 Andererseits wird in Form von Volksmusik wie Mazurka die in der polnischen Volksmu
sik vorkommende kirchliche Technik verwendet. Beim Klavierspielen erhöhte Chopin di
e Klangart mit einem Pedal und verwendete auch Tempo Rubato, was die spätere Klavi
erspielmethode stark beeinflusste.