Frederic Chopin was born on March 1, 1810, in a small town, named Zelazowa Wola, Poland. Chopin lived during a fearful time of Polish history. He grew up in an occupied country and died being barred from a native country, never experiencing living in liberated homeland. Even if this was a rather heartbreaking period for Chopin, who openly expressed his affection and care for the Poland, it never caused him to enjoy life less than it allowed him. He had a sensitive temperament full of enthusiasm as well as an intellect of the “enlightened rationale”. At the same time his personality was somewhat divided into two parts: imaginative, dreamy one and the real conscious one. In September 1831 Chopin arrived in Paris. During the
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Chopin cultivation was to experiment with the sonata and renovate the genre, “to make it more spontaneous and less predictable.”73 Although Chopin was familiar with the sonata’s tradition and valued its merits, he “could not stand keeping its models in a same way” 74 His sonatas were composed on the classical model with four-movement structures and traditional division of the first movement (exposition, development, recapitulation), and the functions of all movements remained within the classical model (first movement as sonata form, contrasts of characters between the movements). Sonatas are the peak of Chopin's stylistic development; in sonata genre romanticism features take significant role. Both sonatas combine the certain characteristic features of Chopin's style, manifested in the previous piano genres of his work (ballads, scherzo, and nocturnes). The last B minor sonata is dominated by lyrical, light moods; the main idea of the work embodies the desire for joy, life affirmation. While Classical influence remained strong throughout his life, Chopin followed the new Romantic ideology of nationalism, transformation, expansion and individualization, which resulted in an organic fluidity of his works. Chopin’s successful combination of two aesthetic ideals resulted in equilibrium of structural integrity and emotional
Chopin cultivation was to experiment with the sonata and renovate the genre, “to make it more spontaneous and less predictable.”73 Although Chopin was familiar with the sonata’s tradition and valued its merits, he “could not stand keeping its models in a same way” 74 His sonatas were composed on the classical model with four-movement structures and traditional division of the first movement (exposition, development, recapitulation), and the functions of all movements remained within the classical model (first movement as sonata form, contrasts of characters between the movements). Sonatas are the peak of Chopin's stylistic development; in sonata genre romanticism features take significant role. Both sonatas combine the certain characteristic features of Chopin's style, manifested in the previous piano genres of his work (ballads, scherzo, and nocturnes). The last B minor sonata is dominated by lyrical, light moods; the main idea of the work embodies the desire for joy, life affirmation. While Classical influence remained strong throughout his life, Chopin followed the new Romantic ideology of nationalism, transformation, expansion and individualization, which resulted in an organic fluidity of his works. Chopin’s successful combination of two aesthetic ideals resulted in equilibrium of structural integrity and emotional