Aka : Fryderyk Franciszek Chopin,Fryderyk Franciszek Chopin
Occupation : Composer
Region : Poland
Birthplace : Poland
Birthday : March 1, 1881
Personal Description
The great Polish musician, who loved Polish folk music since childhood, wrote the Polish Dance at the age of seven, performed on stage at the age of eight, and at the age of less than twenty had become a recognized pianist and composer in Warsaw. In the latter half of his life, when Poland was dying, he spent his time abroad, and created many piano works with patriotic ideas to express his homesickness and hatred for his country. Among them, there are heroic works linked with the Polish national liberation struggle, such as the First Narrative, Polish Dance in A-flat Major, etc.; there are patriotic enthusiasm for combat works, such as the Revolutionary Exercises, Harmonies in B minor, etc.; there are mourning the fate of the motherland's tragic works, such as Sonata in B-flat Minor, etc.; and nostalgia for the motherland, missing their relatives, such as a number of nocturne and fantasia works. Chopin never left the piano in his life, almost all of his creations are piano pieces, known as the "piano poet". In 1837, Chopin refused the position of "Chief Pianist of His Majesty the Emperor of Russia", a position he had been given by the Czar. Schumann described his music as "a cannon hidden in the flowers", proclaiming to the world that "Poland will not die". In his later years, he lived a very lonely life and bitterly called himself "a Polish orphan far from his mother". On his deathbed, he asked his relatives to transport his heart back to his homeland.
Polish genius
I, another child prodigy
Chopin's family lived in a countess's manor house in three houses, it is a pleasant room, with white walls and luminous ceiling, there are hung with snow-white sandy curtains on the windows, wide window sills, inverted golden bells and geraniums bloomed with vitality. Inside were heavy mahogany furniture, many bookshelves, and a white-columned fireplace, whose pine logs snapped and gave off aromatic heat in the cold. Inside the largest of the three houses was the piano. Unlike other child prodigy musicians, the teenage Chopin didn't like that piano.
Chopin's first teacher was a strange character who always wore a yellowish coat and pants, patent leather boots, and a gaudy but tacky undershirt, which he said had been bought at an auction house as the property of the last king of Poland. He always carried a long pencil, which he often used to tap the heads and fingers of slow and unruly pupils. He turned Chopin on to the piano, which he played so beautifully that the boy Chopin became known in Warsaw as "the second Mozart". At the age of ten, he was taken to play before a great singer, who was so pleased with him that he gave him a watch. Shortly afterward, the Russian Tsar heard him play and immediately presented him with a diamond ring. The European newspapers of the time had this to say, "God gave Mozart to Austria, but Chopin to Poland." When Chopin was too young to memorize music, he was able to make up sketches and have his teachers write them for him on manuscript paper. Later Chopin took composition and other courses at the Warsaw Society where his father taught French. When he was seventeen, he finally left school to devote himself to music.
The first composer to devote his life to a single instrument was Chopin. Even Liszt, the Paganini of the piano, turned to composing for full orchestra in his later years, so that when his piano works are rewritten for orchestra, they sound as good - or even better. But Chopin did not try to imitate the orchestra on the piano. He could express music better on the piano than on any other instrument. No matter what the tempo of Chopin's work was - whether it was a ballade or a Polish mazurka or a Polish dance - that melody was almost always in the form of a simple ABA three-part song. His music is as different from Beethoven's sonatas as a short, perfect poem is from a Shakespearean play. Chopin gave two successful concerts in Vienna, and then thought of seeking fame in a wider world. After three farewell concerts in Warsaw, he set out. Before he had gotten very far, his teachers and past classmates stopped his carriage and sang a chorus written in his honor. They then gave him a silver souvenir cup filled with dirt from his homeland, hoping he would never forget it. He never returned, but never forgot the country that gave birth to him.
Three, Paris years
Chopin arrived in Paris soon after, became the most fashionable teacher in Paris. He had as many pupils as he wished, and the price was the highest. He taught like a prince, always wearing white sheepskin gloves and accompanied by a servant who arrived in a carriage. Lister introduced him to Mrs. Dudevant, the famous novelist who wrote under the pseudonym of George Sand. Through her he was drawn into the gay circle of artists, writers, and musicians who made Paris their home. But all the successes and pleasures that befell him could never make him forget the glories and sorrows of Poland. All Chopin's musical compositions are short sound pictures of his various feelings. There are some taken from his own life-the dreamy nocturnes and short preludes written when he was visiting George Sand and her daughters on the island of Mazorka, and those round dances-especially the one in D-flat major, which he is said to have written when he was wrote after watching George Sand's little white dog chase his own tail. But the greater part of his music grew out of his love for his birthplace.
Four: Polish rhythms
Many of Chopin's greatest works were written to the rhythms of two ancient Polish dances, the mazurka and the polonaise. The Polonaise is an aristocratic dance - princes and heroes marching steadily and solemnly in front of the king's throne. Chopin composed some of his grandest works in this style. The mazurka, which Chopin saw from time to time, is a rural dance performed by Polish peasants as they try to forget the hardships of their lives in the midst of vigorous merriment. The rhythm is three beats per measure, intensified on the last beat when the dancers click their heels together. Chopin made more than fifty mazurkas, and in this rhythm, expressed from sadness and mystery to the joy of life and other feelings. Chopin's great Sonata in B-flat Minor is based on an old Polish poem, and his four Narratives tell four stories written by some of Poland's greatest poets. One of the most popular of these tells of the love of a young knight for a beautiful and mysterious lady. Even those of his Etudes are not just some exercises, but some musical sketches. The great Revolutionary Etudes, which all wannabe piano students want to learn, were written when Chopin heard that the Poles had repeatedly risen up against Russia but had been brutally suppressed. Schumann, the master of the Romantics, once described it as "Chopin's work is a cannon hidden among the flowers." Chopin's music is loved perhaps because it speaks not only of Polish beauty and sorrow, but also of a burning patriotism. Chopin's friend in Paris, the German poet Heine, once wrote: "When he sits down at the piano, I feel as if a fellow countryman from the land of my birth were telling me the strangest things that have ever happened in my absence. Sometimes I was tempted to ask him, 'Are those roses at home still blooming enthusiastically? Do those trees still sing so beautifully in the moonlight?'" The urbane little musician with his "charming smile, delightful manner, and angelic locks of beautiful curls" became a favorite in Parisian parlors. But the experiences of Parisian life destroyed Chopin's health, he became sensitive and irritable, and after a quarrel, his ten-year friendship with George Sand collapsed.
The Piano Poet
One, complicated titles and dashing scores
Chopin's life works are numerous, and all of them are for piano, and nine-tenths of them are for solo piano. But the most troublesome thing is that most of his works have only genre but no title, and many of them, even if they are labeled with key and genre and genre number, are still difficult to figure out which one is which. Therefore, the later generation to find Chopin's works, often to work number (Op.) as the main basis for searching, because the work number is not duplicated and confusing phenomenon.
Chopin composed without a piano keyboard. According to people at the time, Chopin was good at improvising on the piano, and had a one-two punch of fluency, but when he put pen to paper to reflect on the improvisation, it was extremely laborious, and often left a lot of scribble marks on the manuscript paper. Many of his works, every time he played, there will be an altered version. Chopin was very emotional about his compositions.
Second, Chopin's credo: let people guess!
"Take off your hats, gentlemen! Here is a genius!" This is December 1831, Schumann published in the "Popular Music Newspaper" forty-ninth issue of a review of Chopin's work No. 2 of the article in Chopin's words of esteem. This article was Schumann's first music review article. The German people's understanding of Chopin began with Schumann's article.
Chopin wrote Opus 2, Variations for piano and orchestra, between 1827 and 1828, using as a theme the little duet between Don Juan and Zerlina in the first act of Mozart's opera Don Juan.
On October 27, 1831, the German pianist Julius Knorr (1807-1861) made his debut at the Concert Hall of the Leipzig Cloth Guild, performing Chopin's Opus II. Schumann's review of this piece borrowed the name of Julius as a pseudonym.
On December 16, 1831, Chopin wrote from Paris to his friend Wojciechowski: "A few days ago I received from Kassel a ten-page review by an enthusiastic German, who analyzes the (Opus No. 2) bar by bar after a lengthy introduction. He argues that according to the orthodox view they cannot be considered variations, but an imaginary picture. In the second variation, he says, Don Juan and Leporello are in pursuit; in the third variation, Don Juan kisses Zerlina, making Mazzetto vomit; and in the fifth bar of the adagio, in D-flat major, Don Juan and Zerlina are kissing. The contributor was so whimsical it was laughable, and he couldn't wait to publish it in the Revue de la Musique (a publication belonging to his son-in-law, Fidelis). The good Hillel, who is a very talented young man, ...... took a great interest in me, and at once told Fitzys's father-in-law that he would do me no good but harm by writing that review." The man Chopin referred to as Fetis (1784-1871) was a Belgian musicologist who married Adelaide, daughter of Robert, editor of the National Courier, in 1806. The Revue de la Musique, founded by Fetis in 1827, was a kind of weekly magazine. The "enthusiastic German" who wrote that review would then have been Robert. Chopin was most opposed to written explanations of his works. The London sheet-music publisher Wessel (1797-1885) used to give his works misleading titles in order to make his publications stand out, such as "Variations in B-flat Major" (Op. 2), which was labeled "Homage to Mozart"; and "Introduction and Polonaise" (Op. 3), which was labeled "Joy". ) is labeled "Joy"; the Mazurka-Style Rondo (Op. 5) is labeled "Posiana"; the Three Nocturnes (Op. 9) is labeled "The Seine Flows"; and the Three Nocturnes (Op. 15) is labeled "The Seine Flows". Three Nocturnes (Op. 15) is labeled "West Wind"; Waltz in E-flat Major (Op. 18) is labeled "Invitation to Dance"; Bolero (Op. 19) is labeled "Memories of Andalucia "; Harmonie in B minor (Op. 20) is labeled "Banquet in Hell"; Narrative No. 1 (Op. 23) is labeled "Narrative Poem without Words"; Two Nocturnes (Op. 27) is labeled "Mourning"; Harmonies in B-flat Minor (Op. 31) are labeled "Meditation"; the other Two Nocturnes (Op. 37) are labeled "Sighs"; and the Two Polonaises ( The Two Nocturnes (Op. 37) are labeled "Sighs"; the Two Polonaises (Op. 40) are labeled "Pets"; and the Mazurkas are collectively called "Polish Memories". In 1841, Chopin wrote indignantly from Noonan to his friend Fontana (1810-1869): "As for Wiesel, he is a fool and a liar. Say what you like when you write to him ...... If he is always losing money on account of my work, it is due to the fact that he does not act according to my opinion, but adds foolish titles. A voice from my heart teaches me not to send him any more work for him to put these titles on. You may speak to him as sharply as you can."
In Chopin's opinion, the "enthusiastic German" was as stupid and ridiculous as Wiesel. But the "picture of an imagination" that the German paints in his essay may not be his invention, but rather a step in Schumann's footsteps; for Schumann's essay also speaks of the second variation as "like a pair of lovers (but not Don Juan and his servant Leporello) in pursuit", with its beautiful descending basso profundo, and its "beautifully crafted" second variation, with its "beautifully crafted" second variation, which is "like a pair of lovers (but not Don Juan and his servant Leporello) in pursuit". ", the beautiful B-flat major is "a lover's first kiss", and so on. Schumann liked to add literary titles to his works, such as "Carnival" (Op. 9), "Fantasia" (Op. 12), "Scenes from Childhood" (Op. 15), "Juvenile Pieces" (Op. 68), "Scenes from the Forest" (Op. 82) and so on are all examples of this; Chopin abhorred this, and his "Nocturne in G Minor" (Op. 15, No. 3) was originally intended to be annotated with His Nocturne in G minor (Op. 15, No. 3) was originally intended to be annotated with the words "After the tragedy Hamlet," but later canceled it, saying, "Let people guess." Letting the music speak for itself, without imposing its subjectivity on the listener - this was Chopin's conviction. The phrase "Let people guess" is universal to Chopin's work.
hopin Frederic- Francois (1810-1849) Polish-born French composer and pianist of the romantic era. His music, written chiefly for the piano, was based on traditional Polish dance themes. His music, written chiefly for the piano, was based on traditional Polish dance themes.
Chopin Frederic- Francois (1810-1849) Polish-born French composer and pianist of the romantic era. He wrote piano-based music based on traditional Polish dance themes
Works:1. Nocturne No.1
2. Nocturne No.2
3. Nocturne No.5
4. Nocturne in ascending C minor No.1 extra Arau
5. Nocturne in E-flat Major Horowitz
7. Rondo in E-flat Major Horowitz
8. Piano Sonata No. 2 Rubinstein
9. Nocturne OP.9-1 Fuchs
10. Nocturne OP.32-2 Rubinstein
11. Nocturne OP.72-1 (posthumous) Rubinstein
12. Nocturne in C-flat Minor No. 2 (posthumous) Rubinstein
13. /p>
12.Nocturne OP.72-1 (posthumous) Fu Cong
13.Fantasy Impromptu in ascending C minor Rubinstein
14.Joy Arau
15.Revolutionary Exercises No.12 Maurizio Pollini
16.Revolutionary Exercises No.12 Richter
17.
17.Etude in E Major (Partita) Op.12 No.3 Richter
18.Etude in E Major (Partita) Op.12 No.3 Maurizio Pollini
19.Etude No.1 OP.10 No.1 Richter
21.Nocturne No.20 In C Sharp Minor Op. posthumous Pires
22.Exercise No.2 Op.10 No.2 Richter
23.Nocturne No.8 Pires
24.The third movement of Piano Sonata No.2 Shura. Cherkassky
25. "Piano Sonata No.3" 1st movement Shura. Cherkassky
98. Piano Sonata No. 3, 2nd-4th movements Schula. Cherkassky
26. Fantasia in F Minor by Shura Cherkassky
98. Cherkassky
27.Magnificent Grand Ballade Rachmaninoff
28.Mazurka No.1
29.Mazurka No.3
30.Polish Dance No.6 Hero Op.53
31.Waltz No.9 Lipatti
32. Extra-Numbered Ballade No. 1 Arau
33. Extra-Numbered Ballade No. 2 Arau
34. Extra-Numbered Ballade No. 3 Arau
35. Polish Dance in G Minor Biret
36. Polish Dance for the Army Op. 40, No. 1 Maurizio Pollini
37. Polish Dance in B-flat Major (out of number) Biret
38.Nocturne in B Major Op 32 No 1 La Rocha
39.Variations on Memories of Paganini Fu Cong
40.Boat Song La Rocha
41.Polish Dance in B-flat Minor (out of number) Biret
42.Lullaby La Rocha
43.Rubinstein, Piano Narrative No. 1
43.Horowitz, Piano Narrative No. 1
43.Kissin, Piano Narrative No. 1
44.Polini, Piano Narrative No. 1
45.Polish Dance in G-flat Major (out of number) Biret
46.Piano Narrative No. 2 in F major Rubinstein
47.Piano Narrative No. 3 in A-flat major Rubinstein
48.Piano Harmony No. 1 in b minor Rubinstein
49.Piano Harmony No. 2 in b-flat minor Rubinstein
50.Piano Harmony No. 4 in E major Bogolelich
51. Prelude to Raindrops Aglich
52. Five Mazurkas Micaelangeli
53. Prelude 24 of 28 Aglich
54. Prelude op 45 Aglich
55. Harmonie No. 3 in C-flat Minor Bogolelich
56. Puppy Dances Patti Lee
57.Bolero Ugorsky
58.Magnificent Variations Zieberstein
59.Piano Sonata No. 1 Zieberstein
60.Impromptu Fantasia in C Minor Yundi Lee
61.Impromptu in G-flat Major No. 3 Arau
62. Waltz Op 69 No 2 Dinu Lipatti
63. "Nocturne Op 27 No 1" Barenboim
64. "Concert Allegro" Ashkenazy
65. "Introduction and Variations on a Teutonic Theme" Vasari
66. "Waltz Op 64 No 2 Lipatti
67. Variations on "Hexameron" by Ashkenazy
68.Piano Improvisation No. 1 in A-flat Major by Arau
69.Fantasia Polonaise by Brendel
70.Tarantella by Ugorsky
71.Prelude in ascending G minor Op. 28 by Vasari
71. Prelude in G minor Op. 28, No. 7" Ivo Pogorelich
72. "Prelude in G minor Op. 28, No. 12" Ivo Pogorelich
73. "Prelude in G minor Op. 28, No. 16" Ivo Pogorelich
74. "Polish Dance in F minor" Brendel
75. p>
75.Impromptu No. 2 Claudio Arrau
76.Mazurka Op. 63 No. 2 and 63 No. 3 Harasiewicz
77.Nocturne Op. 62 No. 1 Harasiewicz
78.Springtime Cortot
79.Silent Night Cortot
80.Variations on the Introduction and Moore's Theme Vladimi&Vovka Ashkenazy
81.Nocturne No. 16 Cortot
82.Nocturne No. 4 Cortot
83.Three New Etudes Cortot
84. Polini, Op. 25, No. 7
85. "Winter Wind Etude" by Polini
86. "Butterfly Etude" by Polini
87. "Paganini's Venetian Theme" by Zieberstein
88. "Polish Dance in C Minor" by Brendel
89. "Heroic Polish Dance" by Cortot
90. .Nocturne No. 1 Pires
91.Nocturne No. 9. Pires
92.Nocturne No. 13. Pires
93.Nocturne No. 15. Pires
94.Mazurka Op. 33 No. 4.Schola. Cherkassky
95.Nocturne Op.62 No.2.Shura. Cherkassky
96. "Don Giovanni: Let's Hold Hands" Shura. Cherkassky
97. "Nocturne" Op. 27 No. 2 Schula. Cherkassky
98.Waltz Op. 34, No. 3 Rachmaninoff
99.The Maiden's Wish Rachmaninoff
100.Piano Concerto No. 3 Kissin
101.Narrative for Piano No. 1 Micaelangeli
102.Nocturne No. 5 Camille Saint-Saens
103.Polish Dance Op. 53 Ignacy Jan Paderewski
104.Piano Harmony No. 2 Horowitz
105.Five Mazurkas 2 Michelangeli
106.Nocturne Op. 37 No. 2 Novaes
107. "Nocturne" No. 8 Barenboim
108. "Nocturne" No. 20 Barenboim109. "Waltz No. 14" No. 1 Kissin
108. "Waltz "Puppy" by Chen Sa
109. > Chopin F.F. Chopin 1810-1849, Polish composer, Chopin was nineteen years old when he wrote his Piano Concerto in F minor, and he died at the age of thirty-nine in 1848, a few months after returning to Paris from a performance in England. Chopin was one of the most original artists of the Romantic era, and his style would never be confused with anyone else's. He was one of the first artists of the first rank to write a piano concerto in F minor. Of the first-rate artists, Chopin was the only master who concentrated his creative life on the piano. The inability to play sustained tones of any duration is of course a major limitation of the piano, but Chopin skillfully overcame these limitations. He is credited with the formation of the modern piano style as much as any other musician. Chopin used the pedal to sustain widely spaced chords in the bass to form haunting, mesmerizing melodic clusters. In Chopin's case, the mother's blood prevailed, the blood of the Polish nation boiled with extra strength, and the chivalrous mazurkas shimmered with fiery and brilliant gestures; sweet tenderness and sardonic playfulness ran through the round dances. In addition to these spiritualized dance forms, Chopin wrote fantasies, harmonicas, narratives, improvisations, preludes, and sonatas. His lyrical expression of emotion was sometimes devilishly enigmatic, sometimes soul-stirring like a water demon, but always heartfelt and warm and compassionate. Chopin's classics: Chopin is known as the "poet of the piano". Because all kinds of deep feelings, such as tragic, romantic, lyrical, heroic, dramatic, fantastical, spiritual, sweet, glorious, great, simple, fleshly - can be expressed in his piano music. You can start with the following: (and then I'll recommend a few specifically for you) The Round Dance, his Round Dance makes it impossible for dancers to count the beats. It's the music used for the dance of the spirit, not the dance of the flesh Night Music, roughly the music that suggests the dreaminess of moonlight, the music that spits out unbelievable moods. The Polonaise, one of Chopin's most delightful musical forms. It emerges from the Polish Chopin's grandeur, seriousness, and excellence, sheer beauty. Mazurka, once a Russian musician lectured on Chopin's masterpiece, saying, "Even if Chopin's other music is completely lost, its mazurka is bound to remain forever as a great piece of music." The Preludes, his colorful music, are an exaltation of beauty and soul. The études, with their poetic ideas, their musical feelings, and their dramatic situations, are not technical études, but "études of the soul". Narrative music, you can experience the beauty of the content, and the great poetic heart. In short, there is no piece of his music that is not beautiful. Nor was there a single one of his that was not beautiful. Now let me recommend a few to you 1. The Natural Row and the Glorious Grand Polonaise, Op. 22 This piece is one of the most luminous. It is a very fine and ethereal piece of music. The sonority of the piece, with its delicate ornamentation in the Chopin style, has a subtle, ethereal interest. 2. Etude in G-flat major, Op. 10, No. 5 It was written for Liszt. In this piece, euphemistic eulogy of his heart's passion and trouble. (There is also a practice piece in c minor, also known as "revolution", op. 10, second) 3, funeral march, op. 35, third movement The song is all about a ball of hot and furious, intense sadness and noble feelings, depicting a world of solitude. 4. Mazurka, Op. 50, 2nd movement The mazurka gives full play to its powerful momentum and characteristics. 5. Puppy Round Dance, Op. 64, No. 1 It is a depiction of a puppy chasing its own tail, circling back and forth across the floor. A very interesting piece. (There's also Waltz No. 1 in E-flat major, Waltz No. 7 in ascending c minor, Waltz No. 9 in A-flat major, and Waltz No. 14 in E major.) These are all very good. 6. Nocturne in F major, Op. 15, No. 2 It is the best of Chopin's nocturnes. In this piece you can glimpse the light of the starry night of the South. The sombre palm trees, the fir trees with their mournful moans, and the lush bushes of roses are a dream of a southern night. (And Nocturne in F major, Nocturne in E-flat major, Nocturne in ascending F major, Nocturne in g minor, Nocturne in D-flat major) I love his nocturnes, they are really beautiful. 7, the army Polonaise, Op. 40, No. 1 The interest of the piece is quite different from that of the dreamlike nocturne and the beautiful ballad. It is the expression of a challenge, the spirit of victory. 8. Polonaise in C minor, Op. 26, No. 1 This is the most popular of the lyrical polonaises. This piece is like a session between a knight and a noblewoman. It reflects the mood of despair and sadness at the eternal farewell of lovers. 9, Polonaise in E-flat minor, Op. 26, No. 2 This piece is incredible fantasy music in the front, followed by a choral style of religious interest in the powerful section. 10. Prelude in D minor, Op. 28, No. 4 It is the most noble of Chopin's preludes. It is passionate, with the strongest lyrical yet arioso ballad beginning, and has an ascension as if it were rocketing to the heavens. (And the G major prelude, A major prelude, ascending D major prelude aka "raindrops") 11, G minor narrative is unprecedented in the Chopin narrative, it has a dramatic and symphonic genre. 12, the Impromptu in ascending C minor is also classic. I don't know if what I've said is helpful to you, but as of today, I've been playing piano for 20 years and I've always loved Chopin's works. I would suggest you to go to a specialized bookstore and look for some Chopin disks, there are some comprehensive disks with classic pieces. Or his complete works are good too, because really every piece of his music is so good and heart-warming. I hope you enjoy it as much as I do, and I hope what I've said here helps you. Chopin's ballades: Chopin composed 21 ballades in his life, which can be divided into two categories in terms of the form of expression: one is the idealization of the actual dance, and the other is the lyric in the form of a ballade. For example, the "Magnificent Grand Ballade in E-flat Major" and the "Puppy" Ballade in D-flat Major belong to the former category, while the "Ballade in C-flat Minor" belongs to the latter. Chopin's ballades have always been known for their beauty, elegance and splendor, but because of the complexity of the rhythmic changes, they are not suitable for actual dancing. In the second category of lyrical ballades, you can often find a similar mazurka-like rhythm, which is due to Chopin has always maintained a strong Slavic national mood. Chopin's round dances are relatively simple in terms of performance techniques, and their contents are relatively easy to understand, so they are popular among the general public Fryderyk Fanciszek Chopin (1810-1849), a great Polish musician who loved Polish folk music since he was a child, wrote his "Polish Dance" at the age of seven. At the age of seven, he wrote the Polish Dance, and at the age of eight, he performed on stage, and at the age of less than twenty, he was already recognized as a pianist and composer in Warsaw. In the second half of his life, when Poland was dying, he spent his time abroad, and created many piano works with patriotic ideas to express his homesickness and hatred for his country. Among them, there are heroic works linked with the Polish national liberation struggle, such as: "Narrative No. 1", "Polish Dance in bA major", etc.; there are patriotic fervor full of combat works, such as "Revolutionary Exercises", "Harmonies in b minor", etc.; there are tragic works mourning the fate of the motherland, such as "Sonata in b-flat minor", etc.; and there are also nostalgia for the motherland, miss their relatives, such as quite a number of nocturne and fantasia works. Shaw's works have been characterized by the following Chopin was known as the "poet of the piano" because he never left the piano, and almost all of his compositions were piano pieces. He performed abroad for the benefit of his countrymen, but reluctantly for the aristocracy, and in 1837 he refused to accept the position of "Chief Pianist to His Majesty the Emperor of Russia", a position he had been given by the Tsarist Russians. Schumann described his music as "a cannon hidden among the flowers", proclaiming to the world that "Poland will not die". In his later years, Chopin lived a very lonely life, painfully calling himself a "Polish orphan far from his mother". On his deathbed, he asked his relatives to transport his heart back to the motherland.