For Every Music Lover: A Series of Practical Essays on MusicMoore, Aubertine Woodward
History
For Every Music Lover: A Series of Practical Essays on Music
Moore, Aubertine Woodward
Music -- History and criticism
The Poetry and Leadership of Chopin
"The piano bard, the piano rhapsodist, the piano mind, the piano soul is
Chopin," said Rubinstein. "Tragic, romantic, lyric, heroic, dramatic,
fantastic, soulful, sweet, dreamy, brilliant, grand, simple, all
possible expressions are found in his compositions and all are sung by
him on his instrument."
In these few, bold strokes one who knew him by virtue of close art and
race kinship, presents an incomparable outline sketch of the Polish
tone-poet who explored the harmonic vastness of the pianoforte and made
his own all its mystic secrets.
Born and bred on Poland's soil, son of a French father and a Polish
mother, Frederic Chopin (1809-1849) combined within himself two natures,
each complementing the other, both uniting to form a personality not
understood by every casual observer. He is described as kind, courteous,
possessed of the most captivating grace and ease of manner, now inclined
to languorous melancholy, now scintillating with a joyous vivacity that
was contagious. His sensitive nature, like the most exquisitely
constructed sounding-board, vibrated with the despairing sadness, the
suppressed wrath, and the sublime fortitude of the brave, haughty,
unhappy people he loved, and with his own homesickness when afar from
his cherished native land.
Patriot and tone-poet in every fibre of his being, his genius inevitably
claimed as its own the soul's divinest language, pure music, unfettered
by words. The profound reserve of his nature made it peculiarly
agreeable to him to gratify the haunting demands of his lyric muse
through the medium of the one musical instrument that lends itself in
privacy to the exploitation of all the mysteries of harmony. Strong
conviction in regard to his own calling and clear perception of the
hidden powers and future mission of the piano early compelled him to
consecrate to it his unfaltering devotion. He evolved from its more
intimate domain effects in sympathy with those of the orchestra, yet
purely individual. He enriched it with new melodic, harmonic and
rhythmic devices adapted to itself alone, and endowed it with a warmth
of tone-coloring that spiritualized it for all time.
Public-domain text, read in full here on John Shaqi.
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