Quotes about Frédéric Chopin

48 Sourced Quotes

This is an absolute deep contrast to Chopin, who found himself favoring a classical form of musical essence. He needs to bring nothing in from outside, the music is nearly 'absolute.'

Burkard Schliessmann

I liked him [Arthur Rubinstein] as a pianist. He was a good musician and had a fantastic repertoire. He never had a great technique, but certain things he played well. I heard him play some of the Chopin etudes, the easier ones with great panache and I told him I had never heard them played better. He said, "Do you mean it?" and I said, "Yes, I do mean it."

Vladimir Horowitz

In almost every edition (and consequently most performances) of Chopin's Sonata in B flat Minor, Op. 35, there is a serious error that makes awkward nonsense of an important moment in the first movement. The repeat of the exposition begins in the wrong place.

Only once in Chopin's music is there a direct reference to Bach, and that is, appropriately, at the beginning of his only educational work, the two sets of Etudes, Op. 10 and 25, and the three Nouvelles Etudes for Moscheles. In the first Etude, Op. 10, in C major, we find a modernized version of the Prelude no. 1 of the Well-Tempered Keyboard...

In the case of a novel, or any imaginative work, especially if the tone is poetic, my own preference is for ending with a touch of symbolism which shall leave the reader brooding. A fine novel, a well-written story, "proves" nothing. Certain characters have played their parts, life goes on, and the final passage may be allowed to remain with one foot in the air, as is the case with some of Chopin's conclusions. But there is no absolute rule in such matters, and there are epic novelists who like to end on a powerful crescendo, as Ravel does in Bolero, or Dvorak in the New-World Symphony. Composition has features which are common to all the arts, and the author can learn as much about his business in the concert hall as in the library.

Mendelssohn was the greatest child prodigy the history of Western music has ever known. Not even Mozart or Chopin before the age of nineteen could equal the mastery that Mendelssohn already possessed when he was only sixteen. Most astonishing is the nature of Mendelssohn's precocious talent: not only a gift for lyrical melodic lines and delicate, transparent textures, but, above all, a control of large-scale structure unsurpassed by any composer of his generation.

After playing Chopin, I feel as if I had been weeping over sins that I had never committed, and mourning over tragedies that were not my own. Music always seems to me to produce that effect. It creates for one a past of which one has been ignorant, and fills one with a sense of sorrows that have been hidden from one's tears.

None of Chopin's contemporaries could rival him for the variety and effectiveness of his treatment of the return.

I do not think that any composer has ever asked for octave glissandi on the black keys, but there is a recording by Moriz Rosenthal of Chopin's Black-Key Etude in which he plays the short octave passage in both hands glissando: it hurts my hands just to think about it.

The Cubists used the figure, but they broke it up... But there was escape, too, even in those days, for there was Whistler living in the grey mists with a faded orange moon. The nocturne transformed itself into dreamy rooms with Chopin's music creating a mood that softened the hard core of self.

My priority has been to bring out Chopin as an aspect of human realism...

Burkard Schliessmann

Chopin is the true inventor of the concert etude, at least in the sense of being the first to give it complete artistic form—a form in which musical substance and technical difficulty coincide.

I think that with the death of Schumann and Chopin—'finis musicae'.''

Anton Rubinstein

Of Chopin:

His creation was spontaneous, miraculous. He found it without searching for it, without foreseeing it. It came to his piano suddenly, complete, sublime, or it sang in his head during a walk, and he would hasten to hear it again by, tossing it off on his instrument. But then would begin the most heartbreaking labor I have ever witnessed.

This is the true paradox of Chopin: he is most original in his use of the most fundamental and traditional technique. That is what made him at the same time the most conservative and the most radical composer of his generation.

The gift of Chopin is [the expression of] the deepest and fullest feelings and emotions that have ever existed. He made a single instrument speak a language of infinity. He could often sum up, in ten lines that a child could play, poems of a boundless exaltation, dramas of unequalled power.

Chopin's exquisite ear saved him from the ugly repetition of thick chords in the bass that frequently disfigure the work of Mendelssohn, Weber, and Hummel—and even of Field.

He [Gilels] played in an easy, natural manner, with strong but unassuming musicianship. His technique was brilliant; years later Neuhaus, still astonished, was to recall Gilels's incredible octaves in Liszt's Spanish Rhapsody. Yet Gilels was never looked upon as a mere virtuoso. As a matter of fact, his programs did not often include music pour epater le bourgeois. He played a stedy diet of Beethoven (the Hammerklavier was a work that strongly engaged his last years), Schubert, Schumann, Chopin and Brahms. In many respects, the great virtuoso who put his authoritative stamp on whatever he played was, at the same time, a thinking man's pianist.

The secret of avoiding monotony with the four-bar module was to vary the accent and the weight of the bars to avoid giving a similar emphatic accent on the first bar of every group, as if one were accenting a downbeat. After Beethoven and before Brahms, perhaps the greatest master of the technique was Chopin, as one can see from the opening of the Nocturne in D flat Major, Op. 27, no. 2, of 1836...

The opposition between structure and sonority in music is almost as misleading as that between line and color in the visual arts. Baudelaire insisted, correctly, that Delacroix was one of the three greatest draftsmen of the century, and emphasized his mastery of line. In the same way, a study of Chopin demonstrates the intimate relation between line and color in music.

If a woman has her PhD in physics, has mastered quantum theory, plays flawless Chopin, was once a cheerleader, and is now married to a man who plays baseball, she will forever be "former cheerleader married to star athlete."

Maryanne Ellison Simmons

The cause of freedom, in music as elsewhere, is now very nearly triumphant; but at a time when its adversaries were many and powerful, we can hardly imagine the sacred bridge of liberty kept by a more stalwart trio than Schubert the Armorer, Chopin the Refiner, and Liszt the Thunderer.

Hugh Reginald Haweis

I cannot work and listen to Wagner at the same time, nor Mahler, nor Beethoven's late quartets. I enjoy listening to Chopin's piano music when I work.

Trying to capture the physicists' precise mathematical description of the quantum world with our crude words and mental images is like playing Chopin with a boxing glove on one hand and a catcher's mitt on the other.

George Johnson (writer)

Of Chopin:

His genius was filled with the mysterious sounds of nature, but transformed into sublime equivalents in musical thought, and not through slavish imitation of the actual external sounds. His composition of that night was surely filled with raindrops, resounding clearly on the tiles of the Charterhouse, but it had been transformed in his imagination and in his song into tears falling upon his heart from the sky.

Chopin's mazurkas stand apart from the rest of the considerable production inspired by folk music which reaches into all forms of Romantic music; they cannot conveniently be classified with any of the other manifestations. They are not arrangements of popular folk tunes,... He uses only fragments of melody, Polish formulas, typical national rhythms, and he combines them in his own way with great originality. From early on, Chopin's mazurkas are much more elaborate than the few modest pieces employing mazurka rhythms by Chopin's Polish predecessors, and they soon became the occasion for some of the most complex and pretentious of Chopin's forms.

The extraordinary significance that music holds for Delacroix, and which contributes most to his admiration for Chopin, is a symptom of the new hierarchy of the arts and the prominent position which music occupies in it. It is the romantic art par excellence and Chopin the most romantic of all the romantics. In his relation to Chopin, Delacroix's intimate connection with romanticism is brought most clearly to light.

Technical display in Chopin, after the early works, is transmuted into tone color or dramatic gesture-we may say, to accept the prejudices of Chopin's own generation, that it has been ennobled. This is the source of much of the poetry in Chopin's music: it comes from the transformation of the vulgar into something aristocratic.

Such abstruse ideas are totally alien to Chopin. The Romantic interweaving of music and literature that was characteristic of Schumann and Liszt was a negligible source of inspiration. Schumann dedicated Kreisleriana to Chopin, but in fact Chopin's consciousness for classical strength and form had nothing in common with the exalted, torn, eccentric and confused character of the work.

Burkard Schliessmann

Chopin's biography remains obscure. He withheld himself all his life, in diametrical contrast to the openness and accessibility of his contemporary Franz Liszt. Chopin always conveyed the impression of a suffering soul, not to say a martyr, almost as if this was to nourish or even underpin his inspiration. Striving for crystalline perfection, he never ventured outside his own domain. You know, the Danish philosopher Søren Kierkegaard is said to have given, as a child, martyr as his chosen career. Chopin must have shared this cult of the 'Pater dolorosus.'

Burkard Schliessmann