Professional Documents
Culture Documents
278
t))
o\vnlopvrNt
3,46
\m
0,00
Fairies'music
developed
42)
45)
527
'olt string
to come to stop
sleep
RECAPITULATION
'I
,06
Lovers' music
7,47
1,55
Bottom's music
B'52
3,00
3:)4
Epilogue by fairy
CODA
9.16
Puck
Thomson
ThomsonNOWlor Listentng to Mustc, Sth Edition,
and Llsfenlng to Western Music will assist you in
understanding the content of this chapter wlth
symphony (267)
dramatic
overture (268)
concert overture (268)
symphonic (tone)
poem (268)
ophicleide (269)
English horn (269)
cornet (269)
id{e fxe (270)
Dres irae
(271)
diminution (272)
double
counterpoin t (272)
collegno (zz2)
Cewandhaus
Orchestra (275)
incidentai music (276)
honly or(
orchestra
J,u5ISttas the symlpno
U
piano, propelled
id tlhe pi
ntu
tury'/ so too did
CCln
1
Music
CHApT ER
25 27g
for greater tension on the strings. This cast-iron frame supported thicker steel
strings, which greatly increased the volume of sound and allowed the pianist
to pound away on the keyboard without breaking the strings. (Recall that
Beethoven's forceful playing had been known to wreak havoc on the older
wooden-frame piano5-5ee Chapter 21 ) But not only could the Romantic
piano support louder and more aggressive playing, it also facilitated a gentler,
more lyrical style as well, its hammers were covered with felt, which allowed
the instrument to "sing" with a mellow tone, in contrast to the "ping,, of the
pianos of Mozart's day. Like the growing nineteenth-century orchestra, the
piano could now produce both a very loud sound (Jortissino) and a very soft
one (pianissimo) The instrument's range increased as well, whereas the piano
in the 1790s encompassed five octaves, it spanned seven by the 1g40s By midcentury the piano was equipped with two pedals, operated by the performer's
feet. on the right side was the sustainingpedal, which enabled strings to
continue to sound after the performer had lifted his or her hand from the corresponding keys. on the left was the softpedal, which softened the dynamic
level by shifting the position of the hammers relative to the strings Finally, in
the 1850s, the Steinway company of New York began cross-stringing the
piano, overlaying the lowest-sounding strings across those of the middle register, and thereby producing a richer, more homogeneous sound. By the midnineteenth century, all the essential features of the modern piano were in
place-the essential design of the piano has not changed in .l 50 years
As the piano grew larger and more expressive, it became something of a
home entertainment centel a place where the family could gather to play and
sing before the days of television and electronrc entertainment. Every aspiring middle-class home had to have a piano, both for family enjoyment and as a
status symbol-the "high art" instrument in the parlor signi6ed to visitors that
they had entered a "cultured" home. Parents made sure their children, especially the girls, received lessons, and publishers, eager to profit from the vogue
for the piano, turned out reams of sheet music for pianists of all skill levels.
Spurred by the sudden populariry of the piano, a host of virtuoso performers set
was often more a display of technical fireworks-rapid octaves, racing chromatic scales, thundering chords-than of musical substance Happily, however,
several of the greatest piano virtuosos of the nineteenth century were also
gifted composers.
FREDERIC CHOptN
o- t 84s)
tbe
oJ the
piano
FIGURE
25-1
28O PART V
'Romanticism,4s2o-4soo
Poland's fight for freedom was crushed by Russian troops, and Chopin never
FIGURE
25-2
men's
S".,d, a bisexual, was an ardent individualist with a predeliction for
she
$ clothing and cigars (see cover and Fig. 25-2). Six years Chopin's senior,
E b.."*. his lover and protector. Many of the composer's best works were written at Nohant, her summer residence 150 miles south of Paris. After their relationship ended in 7847, Chopin undertook a taxing conceft tour of England
and Scotland. Vhile this improved his depleted finances, it weakened his delicate health. He dled in Paris of tuberculosis at the age of thirty-nine
Mazurka
B! maj
mainFrancg.*(e
)nt most of his adult life in Franc
Ithough Fr6d6ric Chopin pent
9.W{t^uin
drew
his
composition/rd-quently
ta\ed strong emotional ties Poland, and
up\ musical idioms oI hls ative 1and. Indeed, the exBafiiite composer behero in Poland, his r+ut'c embraced as a way of
came\omething of a natio
pr.t.*\e
vbuth, Chopin had acationed *rnK(trfamily ln the Polish countrytional Polish dances as the mazurka
side, where\e was int
a fast dance in triple meter with an accent
and che polon\e. The
of them of
on the second b\at lts
bagvillage
a
of
droning
static
ny suggests the
Jewislranees+q4-ai
Bb mlrsl begins much like a triple-meter wa1tz, ex
pipe. Chopin's Ma
As
mazurka,
a national herita
from the w
foreign. I
to
the
iliar
music or as dance, the P
Chopin
in
Bf
major, Opus 7,
No r irssu
'\
CA (rvith repeats)
000
0 16
0 3,t
Rapid dance with triple-metef accompaniment and accent on second beat (A)
Repeat of A
'
3t22
Period
Before dying of tuberc-ul,osis '--af thirty-nine, Chopin asked that Mozart's Requiem be played at his funeral. The mourners also heard Chopin's own Funeral
March from his Piano Sonata in B Flat Minor.
Chopin's frr{usic
\
\
By the age of eighteen, Chopin had evolved an utterly personal and original
style. Compared with other great composers, he wrote few works, but almost
all of them remain in the pianist's repertoire. Most of his pieces are short. But in
these exquisite miniatures, Chopin evokes an infinite variety of moods, from
meiancholy to heroism. His music is always elegant and graceful. Even the virtuoso passages are melodic, not intended merely for display.
Chopin expressed his love of Poland in mazurkas and polonaises. In these
stylized dances, he captured the spirit of the Polish people without actually
using folk tunes. Unlike Schumann, Chopin did not attach literary programs or
titles to his pieces.
No composer has made the piano sound as beautiful as Chopin. His unique
melodic gift creates the illusion that the piano is singing. In repeating a melody,
Chopin adds delicate and gracefuI ornamental tones, similar to the vocal decorations heard in the Italian opera of his time. Many of Chopin's most poetic effects come from the sensitive exploitation of the damper ("loud") pedal. He
blends harmonies like washes of color. The pedal connects widely spaced tones
in the left-hand accompaniment. Chopin's treatment of harmony was highly
original and influenced later composers.
Chopin's compositions allow a pianist to heighten expression by slightly
speeding up or slowing down the tempo, or by holding a note longer than the
music actually indicates. This use of rubato lends a poetic and improvisatory
cD4E
Brief Set:
cD3E
Fr6dric
Chopin
3O3
9, No.
Andante, S meter
Piano
..
almost
But in
s, from
(Duration,4:05)
the vir-
Eg
E 0:00
n these
rctually
lams or
unlque
nelody,
rl decoretic ef1al. He
d tones
xfia
4a.
*4a.
*D.
al
highly
;lightly
ran the
isatory
J'
f;D *Qa.
@
E b*i"
0: 30
b.
Xfia
Xfid
# CD. X4a.
*4.
hewas
tion for
oly.
,tuluprlody is
ried by
udes
tempo.
spaced
il. The
e mea-
@Eetr 0:i8
2. a. Subordinate
te near
a high
tge, the
1>t6"
i;eu
b.
melody,,2a, played
with rubato;
crescendo to
Main melody, with more elaborate decorative notes and trills; chromatic descent
leads to cadence.
-!l
ry
ry
z'"zo
z', SA
t"s
@ 3iz\
L-
1'
Period
[["y,^
t7)
chromatic descent
leads to cadence.
Concluding melody,1a, lhenplt.
played
forcefully in octaves, ff, high trill-like figure, decrescendo and descent to gentle,
rocking close, gry, Ihen 144t.
."/
l oo,No . 12
lutionary; I 8 3 1 ?),,/'
Listenin
Utline
to be read white
c is heard
CHOPIN, EtU
Allegro con
Piano
(Duration
A
1. a. High accented chords, .7f answered by downward rushing passages; low running
notes introduce