![]() The lush chromaticisms of Chopin gave rise to the novel Wagnerian music language of Tristan and Isolde, which is regarded as the last, extreme consequence of the major-minor system. These changes influenced the further progress of music. He considerably eased or modified classical tonal principles, developed new ways of joining chords, applied bold modulations and rapid and unexpected changes of keys, introduced new scales, some of folk origin, and made novel use of dissonances. He is also one of the most subtle and innovative masters of harmony. 55 and 62, as well as the Sonata in G minor for piano and cello.Ĭhopin is a great master of melody, both in its simple, mellifluous form, and in the more complicated, ornamental and figurative melodic lines. Characteristic examples of the late Chopinesque style are the Scherzo in E major, the Sonata in B minor, the Barcarolle in F sharp major, the Polonaise-Fantaisie op. Simultaneously, his tonal language became even more elaborate and distant from traditional patterns. At this time, he abandoned strong effects and violent, direct emotional statement in favour of greater concentration, the moderation of outer gesture, and the inclusion of profound expression, endowed with reflective and intellectual traits. ![]() We can distinguish the so-called "late Chopin style" in the last years of the composer's life, after 1840. The technique and effective brilliance of his music are dominated, however, by profound feeling and a varied, extremely subtle and sophisticated melodic-harmonic content. Chopin turned the piano into an instrument with an unforeseen range of sound and expressiveness, and revealed its new technical and coloristic possibilities. Virtuoso brilliance evolved into a new, inventive piano technique, shaped with great precision, and serving both modern instrumental colour and the purposes of expression. 10, were written, and are characterised by strong dramatic expression, bold imagination and the construction of new Romantic forms. Already the early compositions revealed Chopin's subtle lyricism and his unique cantabile melody.Ĭhopin's mature works were created after about 1831, when the Etudes op. The form of the two concertos retained features typical of their model: the piano part is assigned the foremost role and the orchestra is reduced to a modest accompaniment, or interludes between parts of the composition when the pianist falls silent. ![]() The "brilliant" style, rather superficial in its original model, assumed in the works of the young Chopin an exceptionally noble and spiritual form as exemplified by his two piano concertos (in F minor and E minor) and the Grand Polonaise in E flat major (Grand Polonaise brillante op. ![]() Weber, who introduced to classical forms greater richness of rhythms, changes of tempi and moods in the movements of the cycle, and, predominantly, new, effective pianistic and ornamental figures. It developed from the virtuoso brilliant style, represented in the piano music of J. The strikingly distinct style represented by Chopin, immediately distinguishable after a few chords, possesses an inner richness and variety. ![]() He remains one of the greatest, most original and pioneering composers in history. Chopin restricted almost his entire creativity to the piano but his significance and impact went far beyond the boundaries of piano music. ![]()
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