Chopin Most Successful in Free Forms.—The most representative works of Chopin are those in which he adopts no conventional form, but follows his own instinct entirely. Thus, in his ballades, scherzos, and especially in the fantasy, Op. 49, one finds freedom of invention and variety of treatment combined with logical development and real coherence. The ballads are dramatic poems in which sentiment and virtuosity are happily united. The scherzos are original conceptions quite distinct from the accepted type; they have bold outlines, variety of mood and demand virtuosity in their performance. The fantasy is instructive in its logical structure, there is no sign of the constraint of the sonatas, and its contents are both dramatic on a large scale and lyric by contrast. The impromptus are shorter pieces of a lyric nature, although the element of virtuosity is not lacking. The nocturnes are lyric pieces of simple form but intimate style. Their general plan was at first copied from Field, but the imitator went so far ahead of his model as almost to eclipse it. Some of them portray idyllic moods, others are sentimental or even dramatic in their outlines. The studies, Op. 10 and 25, epitomize in a remarkable way Chopin’s technical innovations, and piano style. They are brilliant, poetic and highly dramatic by turns, and in their contents are the most musical studies composed up to their time.

National Spirit in Chopin’s Music.—Chopin, the patriot, was devoted to the dances and Folk-melodies of his own country. He was thoroughly national as a composer; hence in some respects his mazurkas and polonaises are the most characteristic of his compositions. The mazurkas with their vital rhythms and novel harmonies, contain much poetry of mood and variety of expression within small limits. The polonaise, as treated by Chopin, was less a dance form, and more an independent form with characteristic rhythms. The polonaises, Op. 44 and 53, are virtually patriotic poems. The preludes are sketches of varying size; some are genuine lyrics; some frankly technical in their object; others have a distinct touch of the dramatic. Some of the waltzes suggest the salon, but in others Chopin has individualized the type until it has risen above its origin. Among the single pieces, the Concert Allegro is large in dimensions, very interesting technically and musically. The Barcarolle, in nocturne-form on a larger scale, is almost heroic in its outlines, and a superb example of his mature style. Another piece equally deserving of distinction is the Berceuse, an ingenious series of variations on a persistent bass. The Tarantelle and Bolero are merely fascinating salon pieces.

Of the youthful works with orchestra, the variations on a theme from Mozart’s “Don Juan” are more interesting from the novelty of their piano styles than as variations; the Fantasie on Polish themes attracts attention chiefly on account of its Folk-song character, while the “Krakowiak” rondo is remarkable for its spirited national-dance rhythms. The orchestral accompaniments to these pieces are not significant; in fact, Chopin’s use of the orchestra was his weakest point. The Polish songs are unequal, and at best add little to his fame. Liszt, however, has transcribed six, of which two are frequently heard in concert, while Sgambati has arranged one.

Originality and Freshness of Invention.—The most extraordinary trait of Chopin as a composer is that, in spite of the limitations imposed by repeating the same form over and over again, he is almost inexhaustible in variety of expression. As the poet of lyric mood he accomplished almost as much as Schumann for the development of the short piece, while in his longer pieces of dramatic mood and large contours he has shown that the sonata-form is not the only structure by which to convey heroic sentiment. His was the most subtle originality, the most personal style which stamped itself indelibly on nearly every composition. He immeasurably broadened the technical treatment of the piano, not only as a virtuoso, but in the direction of variety of expression, delicate accentuation and exquisite tone. Among romantic composers he has done more for the advancement of piano style than anyone except Liszt. In spite of the latter’s gigantic achievement, the value of Chopin’s contribution is still unimpaired. From the point of view of expression, Chopin is more individual even than Schumann, but the honors as the most important composer for the piano during the Romantic period must be divided between them. Chopin’s influence has been immense not only on the composers and pianists of France and Germany but also markedly among living composers in Russia. Chopin is the preëminent poet of the piano.

Representative Compositions.—The following list for the student contains the works and pieces most thoroughly characteristic of his genius: The sonatas, Op. 35 and 38; the scherzos, Op. 20, 31 and 39; the ballades, Op. 23, 38, 47 and 52; the polonaises, Op. 22, 26, 40, 44 and 53; the waltzes, Op. 18, Op. 34, Nos. 1 and 2; Op. 42, Op. 64, Nos. 1, 2, and Op. 69, No. 1; the studies, Op. 10, Nos. 1, 2, 3, 4, 5, 6, 7, 10 and 12; Op. 25, Nos. 1, 2, 3, 5, 6, 7, 9, 11 and 12; the mazurkas, Op. 6, Nos. 1, 2; Op. 7, Nos. 1, 2, 3; Op. 17, Nos. 2, 3, 4; Op. 24, Nos. 1, 3, 4; Op. 30, Nos. 2, 4; Op. 33, Nos. 1, 3, 4; Op. 41, Nos. 1, 2; Op. 56, No. 2; Op. 59, Nos. 2 and 3; Op. 63, No. 3; Op. 68, No. 2; the nocturnes, Op. 9, Op. 15, Nos, 2, 3; Op. 27, Op. 37, Op. 48, No. 1; Op. 55, Op. 62, No. 1; the preludes, Op. 28, Nos. 1, 3, 4, 6, 7, 8, 9, 11, 15, 16, 17, 18, 20, 21, 23 and 24; the prelude, Op. 45; the impromptus, Op. 29, Op. 35, Op. 51, and the Fantasie-Impromptu, Op. 66; the Fantasy, Op. 49; the Tarantelle, Op. 43; the Berceuse, Op. 57; the Barcarolle, Op. 60, and the Concert Allegro, Op. 46.

Questions.

Give an account of Chopin’s early life.

Name the important events in his manhood and later life.

What were the striking traits of Chopin as a man?