frederic chopin
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Author(s):  
Joanna Zajkowska

The article discusses the biographical accounts and stories about Frédéric Chopin published in the most representative children’s magazines of the turn of the twentieth century: Wieczory Rodzinne (Family evenings), Przyjaciel Dzieci (Children’s friend) and Moje Pisemko (My little magazine). A kind of complementary role to them is played by the analysis of Janina Sedlaczkówna’s 1891 book Dwaj mistrze: opowiadanie o życiu Artura Grottgera i Fryderyka Chopina (Two maestros: a story about the lives of Artur Grottger and Frédéric Chopin) and Teresa Jadwiga Papi’s stories from 1898 of the same title Dwaj mistrze (Two maestros) about Chopin and Moniuszko. The collected comments and conclusions are presented in relation to twentieth- century biographical texts about Chopin.


Author(s):  
Martin Laliberté

After some in-depth analysis, for instance, of the first Ballade in G minor (1836), Frédéric Chopin’s music reveals itself as a striking case of a musical equilibrium between two major musical tendencies. On the one hand, his music brings the reaching towards an idealised voice to a full and very convincing development. His musical themes sing most of the time while all the main characteristics of his writing explore continuous spaces, to the extent the piano can achieve. He uses many melodic chromaticisms and broad gestures, very voice-like phrasings ranging from the most delicate pianissimi to the extremely dramatic fortissimo, and other vocal features. On the other hand, his music is unavoidably written for a percussion instrument (the piano), makes much use of rhythms and often dances as well, while his accompaniments are thick with vertical features, accents and other percussive traits. In reality, Chopin’s music is in a striking state of equilibrium between the vocal and the percussive and constitutes a rich case of a mixed status between the two poles. Perhaps for one of the last times in Western music, Chopin is precisely at the point of equilibrium, before the rise of the percussive that gave birth to much of the twentieth century’s music. Chopin’s music will remain a true and much beloved monument of equilibrium.


Author(s):  
Myroslav Trofymuk

The key word of the essay is per me, as I present in it my own reminiscence from my childhood and youth, which was when I first came into contact with the works of two exceptional maestros: Frédéric Chopin and Lesya Ukrainka (the pen name of Larysa Kosach). Chopin created musical poetry, while Lesya – a rhythmic and melodic verbal poetry. The dialogue of the two authors sounds amazing, uncovering an optimistic apotheosis of survival and the trauma of loss – the states expressed in Chopin’s Marche funèbre and by Lesya Ukrainka in her poetry cycle devoted to this composition.The temporarily mature understanding of per me in both these creations also resulted from the trauma caused by the loss of close relatives (first, the grandad at a very young age) and hence became the drive for discovering the content of art and the means of expression characteristic to various branches of art.


Author(s):  
Ewa Hoffmann-Piotrowska

The article presents the relationship between Frédéric Chopin and Zygmunt Krasiński both on the biographical level and in the relationship between the word and the sound that Krasiński often wrote about in his letters. A special expression of the dialogue between poetry and music described by the poet are Chopin’s compositions to the words of poets contemporary to him, which is especially true about the words of the motto from Krasiński’s poem Ostatni (The last poem). It is extraordinary in the context of Chopin’s songs as it is not only a musical illustration, but also a sophisticated interpretation of the text through music. The attempts to present poetic content through musical notation presented in the article lead to the conclusion about Chopin as a conscious recipient of a literary work who, like Krasiński, saw in the symbiosis of word and sound the possibility for expressing internal experience.


Author(s):  
V. I. Berezutskyi ◽  
M. S. Berezutska

Psychological disorders caused by the doctor’s rash words are as common as the side effects of drug. Iatrogenic depression caused by ethical and psychological mistakes of doctors will never go away. Their frequency can be reduced only by improving the physicians’ skills in the fields of medical ethics and psychology. A clinical case analysis based on a famous person’s history of the disease is an effective pedagogical tool. The study aims to present the case of the famous Polish composer Frederic Chopin. The A comparative analysis of doctors’ objective actions and patients’ subjective evaluations of their actions were made based on a study of Chopin’s and Sand’s letters as well as the works of composer’s biographers. This approach provides a valuable opportunity to see doctors through the patient’s eyes. In the fall of 1838, during his rest in Majorca, the local doctors diagnosed pulmonary tuberculosis in Chopin. The Majorcan doctors made a serious ethical mistake. They ignored the patient’s anamnesis vitae indicating his phthisiophobia and informed Chopin about the diagnosis of pulmonary tuberculosis and a poor prognosis in a very cynical manner. Chopin wrote: ‘One (doctor) said I had died the second that I am dying, the 3rd that I shall die’. Chopin perceived the diagnosis of tuberculosis as a ‘death sentence’, as a result of which he developed iatrogenic depression. All previous and subsequent Chopin’s doctors used other tactics: they prescribed the correct treatment, but the diagnosis was not voiced. The analysis shows the effectiveness of this tactic: Chopin lived another 10 years after the Majorcan episode. Chopin’s case shows typical doctors’ ethical and psychological issues in informing the patient about the dangerous diagnosis and poor prognosis as well as tactics for building a good physician‑patient relationship.


2021 ◽  
Author(s):  
William Smialek
Keyword(s):  

Author(s):  
Michał Witt ◽  
Tadeusz Dobosz

AbstractBased on a macroscopic analysis of the heart of Frederic Chopin performed in 2014, it can be stated with high probability that the composer suffered from a long lasting tuberculosis as a primary disease, which was the cause of progressive deterioration of his physical condition and numerous symptoms mainly from the respiratory tract. Tuberculous pericarditis rapidly progressing within a rather short period of time, a relatively rare complication of diffuse tuberculosis, might have been an immediate cause of death. This would aptly coincide with a startling opinion that in an autopsy picture the composer’s heart had been more affected by the disease than the lungs.


2021 ◽  
Vol 19 (3) ◽  
pp. 344-355
Author(s):  
V. I. Berezutsky ◽  
◽  
M. S. Berezutskaya ◽  

The narratives based on history of the disease of famous people are an effective pedagogical tool for future physicians’ preparation in medical ethics and psychology. The objective of this study was to analyze the methods that doctors used to inform Frederic Chopin about his disease. Frederic Chopin's and Georges Sand's letters, the works of the composer's biographers as well as scientific publications devoted to Chopin's illness were analysed. The analysis showed that most of Frederic Chopin's physicians hid from him an incurable and fatal diagnosis for ethical reasons. This tactic proved to be effective: Chopin lived for more than 10 years with severe symptoms of pulmonary tuberculosis.


2021 ◽  
Vol 66 (1) ◽  
pp. 245-272
Author(s):  
Lioara Frățilă

"The aura of the composer Frédéric Chopin penetrated the Western European musical culture, touching massively other cultures as well, up to the Chinese one; the certainty through which we recognize the thrill of this aura is mostly due to the fact that ”Chopin’s compositions have opened a new era in the piano’s history”. Being present in the Parisian salon with Rossini and Liszt, the great Pole achieved an organic interweaving between the tradition of Austro-German and French music. The analysis of the sonata No. 1 in C-minor op. 4 builds the core of the present study and relevantly denotes the connection of its architecture together with the set of conventions belonging to the format of the sonata-genre coming from Beethoven. As we know, the Sonata-pattern designed by Beethoven was expanded throughout the Romantic period as well as the conditions under which the aesthetics of Romanticism found a specific corridor reaching its maximum of expression. In a way of an idiomatic, natural model of transmission, the Chopin’s style of conceiving music played its predominant role. Taking into account in this approach theories belonging to the aesthetics field and some theoretical applications with significance for understanding the levers of construction concerning this sonata, op. 4 (composed when the composer was only eighteen (1828)) and Chopin’s approach of the other stages of emancipation within the genre, I will highlight its rules which emphasize implicitly the dialogue with the ”Sonata-Fantasy” genre, as this construct appears (for instance) in sonata op. 58. Keywords: language, two themes sonata, polyphony, form, evolution "


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