弗雷德里克·肖邦
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弗雷德里克·弗朗索瓦·肖邦（Frédéric-François Chopin，1810年3月1日 - 1849年10月17日），是一位波兰音乐家、 作曲家、钢琴家。出生時的波兰名为Fryderyk Franciszek Chopin。 生于波兰中部，邻近首都华沙的热拉佐瓦-沃拉（Żelazowa Wola）。父亲是归化波兰籍的法国人，母亲是波兰人。在華沙,他被視為神童,他1816年6歲的時候开始学习鋼琴；1817年创作他的第一部作品；1818年第一次在台上演奏。 肖邦第一位正式的老师是约瑟夫·艾尔斯内（Joseph Elsner），之后1826年他到华沙的音乐学院学习。他十九歲時已經創作了兩首鋼琴協奏曲。1829年他去维也纳演出期间，波兰爆发反对沙皇俄国的革命，华沙被哥萨克骑兵占领,蕭邦無法回國。他移居到法国巴黎，以演奏、教學和作曲為生,並結識了李斯特和柏辽兹等等作曲家。1836年成为比他大6岁的作家乔治·桑的情人，真至1847年分手。在法国期间，他发展了波兰的玛祖卡舞曲和波蘭舞曲。他由于身体状况欠佳，39岁就死于肺结核，埋葬在巴黎拉雪兹神父公墓。根据他的遗嘱，在波兰独立后，将他的心脏移葬波兰。 肖邦的作品以鋼琴曲為主,例如降B小調第二鋼琴奏鳴曲和練習曲等都是音樂史上最重要的鋼琴作品。雖然他不少作品技巧頗為艱深,但是他從來不會以炫技為最終目的。肖邦的作品更著更詩意和細膩的情感。他是歐洲十九世紀浪漫主義音樂的代表人物。
[编辑] 生平一些非中文的文字因为尚未翻譯而被隐藏，歡迎參與翻譯。
蕭邦出生在波蘭中心靠近Sochaczew的熱拉佐瓦沃拉，鄰近Masovia區域，為華沙公國的一部分.他的父親Mikołaj (Nicolas) Chopin、一個祖先有著波蘭血統的法國人，於1787移居至波瀾，然後和一位波蘭女子Tekla Justyna Krzyzanowska結婚。 蕭邦在1810年3月1號出生，而且每到這個時候他都會慶祝一番。 他的受洗證書名單上顯示出生日為2月22號，但大部分人都相信這是牧師犯的一個錯誤( 那張受洗證書是在四月二十三日寫的，差不多是在他出生後八個星期). [编辑] 早期
The further development of Chopin's talent was supervised by Wilhelm Wurfel (born 1791 in Bohemia). This renowned pianist、a professor at the Warsaw Conservatory、gave Chopin valuable (although irregular) lessons in playing organ、and possibly piano. From 1823 to 1826、Chopin attended the Warsaw Lyceum、where his father was a professor. In the autumn of 1826、Chopin began studying music theory、figured bass、and composition with the composer Jozef Elsner (born 1769 in Silesia) at the Warsaw Conservatory. Chopin's contact with Elsner may date to as early as 1822、and it is certain that Elsner was giving Chopin informal guidance by 1823. 1829 ，在華沙，蕭邦聽到了Niccolo Paganini 的演奏、而且他還遇到了德國鋼琴家和作曲家 Johann Nepomuk Hummel. 在同一年，蕭邦遇上了他的初戀，一個學唱歌的學生，Constantia Gladkowska. This inspired Chopin to put the melody of the human voice into his works. Chopin also paid his first visit to Vienna in that year、where he gave two piano performances and received mixed notices、including many very favourable reviews and others that criticised the small tone he produced from the piano. In Warsaw in December he performed the premiere of his Piano Concerto in F minor at the Merchants' Club. He gave the first performance of his other piano concerto、in E minor at the National Theatre on 17 March 1830. He visited Vienna again in 1830、playing his two piano concertos. In Vienna、he learned about the November Uprising and decided not to return to Poland. He stayed in Vienna for a few more months before visiting Munich and Stuttgart (where he learned of Poland's occupation by the Russian army)、and arrived in Paris early in October. He had already composed a body of important compositions、including his two piano concertos and some of his etudes Op. 10. [编辑] 巴黎生活在巴黎期間，肖邦被介紹給了當時首要的著名鋼琴演奏家包括 Friedrich Kalkbrenner、Ferdinand Hiller 和 Franz Liszt、同時他和作曲家 Hector Berlioz、Felix Mendelssohn、Charles-Valentin Alkan、還有Vincenzo Bellini(beside whom he is buried in the Pere Lachaise) 建立了深厚友情. 他的音樂在當時就已經悲痛時代的作曲家們所敬佩，在這些作曲家中 羅伯特 舒曼 執筆寫下了非常著名的關于 Variations Op. 2的評論: "脫帽、先生們! 一位天才". 在巴黎期間蕭邦做了多次訪問和tours. 1834年、他和席勒共同訪問了在 Aachen 由 Ferdinand Ries 組織的萊茵河畔音樂節。蕭邦、席勒還有門德爾松三人在此次音樂節中碰面并一起去了Dusseldorf、Koblenz 和 Cologne、他們三人彼此欣賞對方的音樂才華并互相學習和切磋音樂技藝。 蕭邦數在巴黎的期間參加了數場音樂會。 在這數場音樂會期間巴黎的藝術家們的生活也被豐富了，比如March 23 1833 的那場音樂會蕭邦、李斯特還有席勒分別表演了約翰 塞巴斯蒂安 巴赫的三架豎琴協奏曲的獨奏部分、 March 3 1838 的音樂會上when 蕭邦、Charles-Valentin Alkan、Alkan 的老師 Pierre Joseph Zimmerman and 肖邦的學生 Adolphe Gutman 演奏了 Alkan 改編的貝多芬第七交響曲的8手連彈。 1835年蕭邦拜訪了他在 Karlsbad 的家人、并和他的父母一起去了他們曾經居住過的 Děčin、然后去了華沙. 在他回巴黎的旅程中經過了 Dresden并在那住了幾周、然后在Leipzig 和門德爾松、羅伯特 舒曼 還有 Clara Wieck會面. 然而在他的旅程途中他經受了一次非常嚴重的支氣管疾病的打擊 - 以至于一些波蘭的報紙紛紛刊登了他的死訊。 1836 年蕭邦和一個17歲的名叫Maria Wodzinska 的波蘭少女訂婚、在女孩母親的堅持下這次訂婚并沒有被公開，并與次年被女孩的家人取消婚約。 [编辑] 肖邦與喬治·桑
1836年、在伯爵夫人 Marie d'Agoult舉辦的一次聚會上 Franz Liszt、蕭邦遇見了 Amandine-Aurore-Lucile Dupin、Baroness Dudevant，她的筆名叫做 George Sand. 她是一個法國浪漫主義作家、因和眾多杰出人士如Prosper Merimee、Alfred de Musset (1833–34)、Alexandre Manceau (1849–65)的戀情使得她更加出名。 起初肖邦并不覺得她非常地引人注目，他甚至和他的家人說 "她的某些方面讓我覺得反感"。However、in an extraordinary letter from Sand to her friend Count Wojciech Grzymala in June 1837、she debated whether to let Chopin go with Maria Wodzinska or whether to abandon another affair in order to start a relationship with Chopin. Sand had strong intentions towards Chopin、and pursued him until a relationship began. A notable episode in their time together was a turbulent and miserable winter on Mallorca (1838–1839)、where they had problems finding habitable accommodation and ended up lodging in the scenic、but basic and cold Valldemossa monastery. Chopin also had problems having his Pleyel piano sent to him. It arrived from Paris after a great delay、to be stuck at the Spanish customs who demanded a large import duty. He could only use it for a little more than three weeks; the rest of the time he had to compose on a rickety rented piano to complete his Preludes (Op. 28). During the winter、the bad weather had such a serious impact on Chopin's health and his chronic lung disease that、to save his life、he and George Sand were compelled to return first to the Spanish mainland where they reached Barcelona、and then to Marseille where they stayed for a few months to recover. Although his health improved、he never completely recovered from this bout. He complained about the incopetence of the doctors in Mallorca: "The first said I was going to die; the second said I had breathed my last; and the third said I was already dead." Chopin spent the summers of 1839 until 1843 at Sand's estate in Nohant. These were quiet but productive days、during which Chopin composed many works. On his return to Paris in 1839、he met the pianist and composer Ignaz Moscheles. In 1845 a serious problem emerged in Chopin's relationship with Sand at the same time as a further deterioration in Chopin's health. Their relationship was further soured in 1846 by family problems; this was the year in which Sand published Lucrezia Floriani、which is quite unfavourable to Chopin. The story is about a rich actress and a prince with weak health、but it is possible to interpret the main characters as Sand and Chopin. The family problems finally brought an end to their relationship in 1847. [编辑] 死亡與葬體1848年肖邦舉行了他在巴黎的最後得一場音樂會，然後與他的學生和崇拜者珍妮·斯特琳訪問英格蘭與蘇格蘭。他們於十一月抵達倫敦。肖邦堅持舉辦了數場音樂會和沙龍表演，但此時的他其實已經病得很重了。回到巴黎之後，到1849年他已經無法繼續教學和表演。他的妹妹露德維卡在他位於旺多姆的家中照顧他。十月十七日的凌晨，肖邦停止了呼吸。當天早上還製作了他去世時候的死亡面罩和手的石膏鑄型。蕭邦要求在他的葬禮上演唱莫札特的安魂曲，而它的葬禮是在Church of the Madeleine且有將進三千多人出席.然而安魂曲中有一斷大調旋律是由女歌手來主唱的，不過Church of the Madeleine從來沒有准許一位女歌手進入教堂，所以這場葬禮被拖延了幾乎兩個禮拜。不過教堂最後仍然緩和了態度並同意了蕭邦最後的請求，不過女歌手必須待在黑色的天鵝絨帷幕後。男低音Luigi Lablache也將一起在這場葬禮上演出貝多芬和貝裡尼的曲子。 
[编辑] 外部連結[编辑] 音樂肖邦的鋼琴音樂集合了獨特的節奏感(特別是他對 rubato, chromatic inflections, and counterpoint的運用). This mixture produces a particularly fragile sound in the melody and the harmony, which are nonetheless underpinned by solid and interesting harmonic techniques. He took the new salon genre of the nocturne, invented by Irish composer John Field, to a deeper level of sophistication, and endowed popular dance forms, such as the Polish mazurka and the Viennese waltz, with a greater range of melody and expression. Chopin was the first to write Ballades (a genre he invented) and Scherzi as individual pieces. Chopin also took the example of Bach's preludes and fugues, transforming the genre in his own preludes. Several of Chopin's melodies have become very well known - for instance the Revolutionary Étude (Op. 10, No. 12), the Minute Waltz (Op. 64, No. 1), and the third movement of his Funeral March sonata (Op. 35), which is often used as an iconic representation of grief. The Revolutionary Étude was not written with the failed Polish uprising against Russia in mind, it merely appeared at that time. The Funeral March was written as a funereal piece, but it was not inspired by any recent personal bereavement. Other melodies have been used as the basis of popular songs, such as the slow section of the Fantaisie-Impromptu (Op. 66) and the first section of the etude Op. 10 No. 3. These pieces often rely on an intense and personalized chromaticism, as well as a melodic curve that resembles the operas of Chopin's day - the operas of Gioacchino Rossini, Gaetano Donizetti, and especially Bellini. Chopin used the piano to re-create the gracefulness of the singing voice, and talked and wrote constantly about singers. Chopin's style and gifts became increasingly influential: Schumann was a huge admirer of Chopin's music — although the feeling was not mutual — and he took melodies from Chopin and even named a piece from his suite Carnaval after Chopin. Franz Liszt, another great admirer and personal friend of the composer, transcribed six of Chopin's songs for piano. Liszt later dedicated a movement of his Harmonies Poétiques et Religieuses to Chopin, titling it Funérailles and subtitling it "October 1849." The mid-section recalls powerfully the famous octave trio section of Chopin's Polonaise, op. 53. Despite this, Liszt denied it had been inspired by Chopin's death but by the deaths of three of Liszt's Hungarian compatriots in the same month. Chopin performed his own works in concert halls but most often in his salon for friends. Only later in life, as his disease progressed, did Chopin give up public performance altogether. Chopin's technical innovations also became influential. His préludes (Op. 28) and études (Op. 10 and 25) rapidly became standard works, and inspired both Liszt's Transcendental Études and Schumann's Symphonic Études. The early Alexander Scriabin was also influenced by Chopin, his 24 Preludes op.11 are inspired by Chopin's Op.28. Jeremy Siepmann, in his biography of the composer, named a list of pianists he believed to have made recordings of works by Chopin generally acknowledged to be among the greatest Chopin performances ever preserved: Vladimir de Pachmann, Raoul Pugno, Ignacy Jan Paderewski, Moriz Rosenthal, Sergei Rachmaninoff, Alfred Cortot, Ignaz Friedman, Raul Koczalski, Arthur Rubinstein, Mieczysław Horszowski, Claudio Arrau, Vlado Perlemuter, Vladimir Horowitz, Dinu Lipatti, Vladimir Ashkenazy, Martha Argerich, Maurizio Pollini, Murray Perahia, Krystian Zimerman, Evgeny Kissin. Rubinstein said the following about Chopin's music and its universality:
[编辑] 風格雖然肖邦生活在1800年代,他荏苒是在[貝多芬]、海頓、 莫扎特和Clementi的傳統教育方式下學習, ; he even used Clementi's piano method with his own students. He was also influenced by Hummel's development of virtuoso, yet Mozartian, piano technique. One of his students, Friederike Muller, wrote the following in her diary about Chopin's playing style:
[编辑] 蕭邦與浪漫主義Chopin regarded the Romantic movement with indifference, if not distaste, and rarely associated himself with it directly. Even so, today Chopin's music is considered to be the paragon of the Romantic style. However, his music has less of the expected trappings of Romanticism: There is a classical purity and discretion in his music, with little Romantic exhibitionism, personified by his reverence of Bach and Wolfgang Amadeus Mozart (Chopin based the structure of his preludes on the Well-tempered Clavier of Bach). Chopin also never indulged in 'scene painting' in his music or affixing to his works fanciful or descriptive titles, unlike his contemporary Robert Schumann. Also, unlike his flamboyant contemporary Franz Liszt, Chopin was withdrawn from public life. [编辑] 作品
無論是獨奏何時有其他伴奏，肖邦所有的作品都和鋼琴有關。 他的作品以鋼琴獨奏為主但其中也包含了小部分鋼琴和其它樂器的合奏，比如第二鋼琴、小提琴、大提琴、人聲和管弦樂隊。 His larger scale works such as the four ballades, the four scherzos, the barcarolle, and sonatas have cemented a solid place within the repertoire, as well as shorter works like his impromptus, mazurkas, nocturnes, waltzes and polonaises. Two important collections are the 24 Preludes Op. 28, based loosely on Bach's Well-Tempered Clavier, and the études Op. 10 and Op. 25, which are a staple of that genre for pianists. Chopin composed two of the romantic piano concerto repertoire's most often-performed examples, his Opp. 11 and 21. In addition, he wrote several song settings of Polish texts, and chamber pieces including a piano trio and a sonata for cello and piano. [编辑] 媒體
[编辑] 其它為紀念天才蕭邦，波蘭的華沙每五年會舉行一次國際蕭邦鋼琴大賽。 [编辑] 名祖自蕭邦逝世後，以下均以其名命名：
[编辑] 虛構中的蕭邦Chopin and Sand's illustrious relationship is embroidered in the film Impromptu which stars Hugh Grant as Chopin and Judy Davis as George Sand. [编辑] 參見
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