“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.”

Source: The Romantic Generation (1995), Ch. 7 : Chopin: From the Miniature Genre to the Sublime Style

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Charles Rosen69

American pianist and writer on music 1927–2012

Charles Rosen (1927–2012) American pianist and writer on music

Source: The Romantic Generation (1995), Ch. 7 : Chopin: From the Miniature Genre to the Sublime Style

“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.”

Arnold Hauser (1892–1978) Hungarian art historian

Source: The Social History of Art, Volume III. Rococo, Classicism and Romanticism, 1999, Chapter 6. German and Western Romanticism

“Herz, Thalberg, Heller, Felicien David and others were great virtuosos of their time, more famous than Chopin himself. They had their own personal styles, but the essence of their music was time-bound, nothing that could occupy generations after them. Chopin, in contrast, was someone special, someone who was completely different from all other artists, composers, and pianists. So too with his style. As a result, the aesthetic in approaching Chopin is distinctive: interpreting his music is the most difficult of all. For me personally, it’s the crowning of playing piano. Bach, Mozart, Chopin: these are the three who definitely created musical art in an all-embracing and overwhelming way.”

Burkard Schliessmann classical pianist

Talkings about Chopin and Schumann

“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.”

Charles Rosen (1927–2012) American pianist and writer on music

Source: The Romantic Generation (1995), Ch. 6 : Chopin: Virtuosity Transformed

“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 classical pianist

Talkings about Chopin and Schumann

“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 classical pianist

Talkings about Chopin and Schumann

“Chopin absolutely was influenced by Bach. We know that before Chopin himself performed in concert, he didn’t play anything other than Bach. His own Preludes are a reference to the Well-Tempered Clavier of Bach, and all Chopin’s students had to play Bach. In whole, Chopin admired Bach most of all composers, and it was nothing less than the Well-Tempered Clavier itself that was his musical diary. I also have said that Chopin is the crowning and climax of piano-playing. It’s something so unique, all-affecting in emotionalism, musical architecture, and structure, that all past giants are present in it: Bach and Mozart. Chopin’s elegance is so singular, that again you need much experience to convey his music in the real and original style. The question of rubato is very sensitive: It’s nothing arbitrary, but much more something well calculated and well proportioned, something that is integrated in the classical strength of form, which is constructed on the profound knowledge of the polyphonic and contrapuntal structures of Bach and Mozart. Whether the Goldbergs may relate to this question? Absolutely! I again want to mention a certain and special term: jeu perlé.”

Burkard Schliessmann classical pianist

Without this you can’t play Chopin, you can’t play Mozart, and lastly absolutely not the Goldbergs.
Talkings on Bach

“Jazz I regard as an American folk music; not the only one, but a very powerful one which is probably in the blood and feeling of the American people more than any other style of folk music.”

George Gershwin (1898–1937) American composer and pianist

"The Relation of Jazz to American Music", in Henry Cowell (ed.) American Composers on American Music (1933); reprinted in Gregory R. Suriano (ed.) Gershwin in His Time (New York: Gramercy, 1998) p. 97.

“The editor of this selection from Chopin’s Pianoforte Studies has, however, no such intention; on the contrary. he wishes to make some of them, which owing to their difficulty have hitherto remained unpopularised, more accessible, particularly to the amateur, by pointing out the way to their correct study. And thus, on the basis of the technical facility to be acquired through these pieces, to enable even the non-professional to enjoy a more intimate acquaintance with those works of the classical romanticist, which, though representing the best and most undying side of his genius, have found till now but a small, though daily increasing circle of admirers; for the “Ladies’-Chopin”, which for forty years has blossomed in the pale and sickly rays of dilettantism; the “talented, languishing, Polish youth” to whom the most modest place on the Parnassus of musical literature was denied by the amateurish criticism of German professors, is as little the genuine entire Chopin, as is the Beethoven of “Adelaide” and the “Moonlight Sonata”, the god of Symphony. Truly a span of time must yet elapse before the matured and manly Chopin, the author of the two Sonatas, the 3rd and 4th Scherzos, the 4th Ballade, the Polonaise in F# minor, the later Mazurkas and Nocturnes etc., will be completely and generally appreciated at his full worth. At the same time much may be done by preparing and clearing the way; and one of the best means towards this end is sifting the material, and replacing favourite and unimportant works, by those less known though more important.”

Hans von Bülow (1830–1894) German musician

Preface to Instructive ausgabe. Klavier-Etuden von Fr. Chopin, 1880.

“To approach Chopin, you have to separate him completely from Schumann. Schumann admired Chopin very much and saw him as friend, but - what only few people know - Chopin himself had much less interest in and esteem for Schumann. In detail: Schumann’s works follow on from a transitional period determined by the successors of Viennese Classicism, particularly Beethoven. Just as the sons of Bach espoused the ‘galant,’ ornamented style of their generation, so the pupils of Mozart and Beethoven - Hummel, Ries, Czerny, Moscheles - took pains to compensate for a thinner musical substance with increased instrumental brilliance and thus prepared the ground for the golden age of the piano and the era of the Romantic virtuoso. Among the multitude of composers writing for the piano at that time, only two - Weber and Schubert - stand out as original creative forces.”

Burkard Schliessmann classical pianist

Talkings about Chopin and Schumann

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