Transcript File - Jefferson Hunter

Jefferson Hunter
SLCC MUSIC 1010
2nd Period
Chopin (1810-1848) was born in Poland. His father was French
and his mother was Polish. At age six he passed up his teacher and by
age seven he was composing his own work. While attending Warsaw
Conservatory, under Wilhelm Wurfel, Chopin published his first piece
at age 15, Rondo Op. 1. At age 19 he had his first professional
performance in Vienna. Chopin moved to Paris to avoid a conflict with
the Russians in Poland. Most of Chopin’s compositions were written in
Paris. In 1832 many publishers became aware of Chopin after a
performance with Friedrich Kalkbrenner. Kalkbrenner was very famous
and was known as “the King of Piano” at the time. In 1833 Chopin and
Liszt performed together and became friends with many other
composers. While in Paris, Chopin was diagnosed with tuberculosis. In
1835 Chopin started hemoptysis (coughing of the blood). Chopin fell
in love with Maria Wodzinski who he proposed to but couldn’t marry
because her parents said he wasn’t in good enough health. Chopin was
devastated and retreated to the Spanish Island of Majorca with George
Sand, whom he never married but late lived with in France. Chopin
then moved back to Paris during the later part of his life where he then
passed away.
Chopin’s hands were rather small. In order to play
the notes envisioned in his head he created new
techniques for the piano. However, in the beginning of
their use, piano performers couldn’t complete such
demanding techniques. People in Chopin’s day would
constantly tell his teachers that his techniques were
unorthodox and he needed to change his ways. It can be
noted that these attacks on Chopin’s form started early in
life because he produced this nocturne when he was only
in his late teens. Despite such criticism, Chopin
persevered and revolutionized piano. Chopin’s acute and
refined techniques can be found all around the world
today.
Section B
Section C
Section B
Section C
Section
A
Section
A
0:00
The left hand starts with
an arpeggio sequence
0:04
The right hand comes in
with the melody. (Melody
A)
0:20
A new phrase begins but
the same left hand right
hand pattern continues
0:35
A new phrase begins
played in octaves in the
right hand.
0:56
Cadence occurs and the
melody goes from octaves
to a eighth notes playing
over a held half note while
dynamically building
(Melody B)
Piano
Homophonic
Minor
1:15
The melody and
harmony die down
dynamically
1:31
Chopin starts to mess Major/minor
with major and
minor, playing a few
major chords and
changing up the
melody. (Melody C)
1:52
The right hand chords
come in much
stronger.
2:07
The melody which
was in the beginning
(Melody A) is
repeated with added
trills
2:24
Quick note runs fill in
around the original
melody
2:40
The previous phrase
which had octaves is
repeated but played
with more notes
2:58
The melody continues
to be similar but played
with bigger chords and
less notes (Melody B)
3:17
Chopin takes the same
melody used when
manipulating major and
minor and puts it in a
new key (Melody C)
3:34
The previous phrase
is repeated but with
tied chords
3:55
The melody changes
into a concluding
motif
4:10
Final chord resonates Major
For this nocturne, like many of
Chopin’s nocturnes, Chopin used new
techniques to display his melodies and
harmonies. A critique of this song said,
“The fingers could then elaborate over a
bass not which could be held on the pedal
without dwindling too rapidly.” It can be
said that Chopin took advantage of this
piece to develop his writing for the left
hand. According to Eigendinger “ it is this
extension of suppleness that underlies the
accompanying voice.” This song, along
with many of Chopin’s works, was
discriminated in the early years of its
publishing date. However, this piece has
been given astounding notice especially for
its feel and emotional mood.
Section B
Section A
Section A
Section A
Section C
Section A
Conclusion
Section B
Section A
0:00
Section A begins with the left hand playing
a low minor chords and the right hand
answering back with the much higher
melody.
0:38
The left hand and right continue to
communicate back and forth between the
melody and bass notes, however, the B
themed melody comes in.
1:06
A dramatic change in dynamics occur when
the assumed cadence would have occurred.
1:15
The melody of section A returns but it is
enriched.
1:33
The A melody changes from its previous
ending, finishing off with a Picardy 3rd.
Minor
Piano
Homophonic/
Polyphonic (LH
going in and out
of harmony and
melody)
1:54
With the previous section ending in a
Picardy 3rd, section continues in Major.
This sections becomes more
homophonic, contrasting from the
previous section.
2:26
Section C occurs with a new melody.
2:55
Chromatic runs in the left hand interrupt
the C section melody.
3:00
Both hands come together and become
much more present. The dynamics build
as the chromatic runs become more
frequent, moving to the right hand.
Major
Mostly
monophonic
3:37
The A melody comes in but instead Mostly Homophonic
of the left hand playing bold,
heavy chords it plays repeated and
much softer chords.
4:03
The B melody comes back in but is
busier than the first time.
4:23
After section A’s opening phrase is
played the melody is quickly
changed to a conclusion. Dissonant
chords are resolved.
4:58
A concluding phrase passes through
the left to right hand as the closing
theme diminishes.
5:20
The song ends with chords played in
between long rests.
The Opus 25 series of etudes had 12
numbers. This was Chopin’s second set of
etudes, the previous one being Opus 10, which
also had 12 numbers. This specific etude has
the nick name “The Aeolian Harp” given by
Schumann. It is a piano solo written in A-flat
major. It was composed in 1836, and in 1837 it
was published.
Section B
Section A
Section B
Section A
0:00
Both hands play
sixteenth notes as
triplets together.
Melody A starts with
the first note of
every triplet group
which is played
louder to make more
clear.
0:20
The Melody A is
repeated.
0:32
Melody A changes to a
2 on 3 rhythm
Piano
Major
Homophonic
Simple Triple but
played with loose
rhythm
0:40
Melody B comes in
continuing with the
two on three rhythm
0:59
Melody B goes up
much to a higher
octave continuing a
new melody
1:25
Melody A comes back
in with a little
variation than the
beginning
1:46
Arpeggios go up and
down the piano and
conclude with a
rolled chord.
Internet http://www.pianostreet.com/smf/index.php?topic=34380.0
 http://www.chopinmusic.net/works/nocturnes/
 http://www.forte-piano-pianissimo.com/ChopintheTeacher.html
 http://www.musicaneo.com/composers/biography/346_frederic
_chopin.html
 http://www.ourchopin.com/biography.html
 http://artseditor.com/html/opinions/0710_composers.shtml
Books
Chopin Selected Works for Piano: Book 1 Compiled by Keith
Snell