弗雷德裏克·弗朗索瓦·肖邦（Frédéric Fran?ois Chopin）（1810年3月1日至1849年10月17日）是波蘭浪漫主義時期的作曲家和鋼琴演奏家，主要為獨奏鋼琴寫作。 他從小就熱愛波蘭民間音樂，並在七歲時創作了波蘭舞曲。 他從八歲開始在臺上表演，並在二十歲之前成名。 1849年10月17日，肖邦在巴黎死於結核病。 他壹生創作了約200首作品，包括：2首鋼琴協奏曲，3首鋼琴三重奏，3首鋼琴奏鳴曲，4首敘事曲，4首詼諧曲，27首練習曲，16首波蘭舞曲，17首華爾茲，21首夜曲，4首即興曲，3首埃柯賽斯舞曲； 此外，還有波萊羅舞曲，船歌，搖籃曲，變奏曲等，***21卷。 他被稱為“鋼琴詩人”。
The high ideological value of Chopin's music is that it reflects a side of the general trend of the European bourgeois national movement in the 1830s and 1940s, screaming out the angry and defiant voice of the oppressed and enslaved Polish nation. Chopin's music has a strong Polish national style. His attitude towards national folk music was very serious, he was against novels, yet, not bound by it. He had a deep understanding and mastery of music creation methods of Western Europe at that time and used it as the starting point for his creation so that his music had a rigorous and complete art form that had a profound connection with the classic. He dared to boldly breakthrough tradition and innovate. This is particularly manifested in his deep excavation and enrichment of the potential artistic expression of a series of musical genres such as preludes, etudes, narratives, nocturnes, impromptu, etc., by endowing them new social content. His melody has a high degree of emotional expression and is full of personality; his harmony language is novel and bold. All these factors combine to form a novel and unique Chopin style, which has contributed to the historical development of European music.
肖邦音樂的高度思想價值在於，它反映了1830年代和1940年代歐洲資產階級民族運動，發出被壓迫和被奴役的波蘭民族憤怒的聲音。肖邦的音樂具有濃郁的波蘭民族風格。他對民族民間音樂的態度非常嚴肅。當時他對西歐的音樂創作方法有深刻的理解和掌握，並以此為創作起點，因此他的音樂具有嚴謹而完整的藝術形式，與古典音樂息息相關。他敢於大膽突破傳統並進行創新。具體體現在他通過賦予新的社會內容，對序曲，練習曲，敘事，夜曲，即興等壹系列音樂流派的潛在藝術表現形式進行了深刻的挖掘和豐富。他的旋律具有很高的情感表達力和個性。他的和聲語言新穎而大膽。所有這些因素***同構成了壹種新穎獨特的肖邦風格，為歐洲音樂的歷史發展做出了貢獻。
Appreciation #1? Fantaisie-Impromptu In C-Sharp Minor, Op. 66 幻想即興曲
參考演奏視頻：position is in ternary form. Its difficulty lies in the continuous sextuplet of the left hand aligning with the quick quadruplet of the right hand in the first and third movements, which is in C-Sharp minor. This combination of a different rhythm and quick tempo cause people to have a sense of illusion. The middle movement is in D-flat major and a much slower tempo with a lyrical melody, which brings the listener into a beautiful world of fantasy. The melody ending is repeated in the bass as if the world in the fantasy is still fading.
This is a work by Chopin at the age of twenty-four (1834), but it was not discovered by his descendants in the sheet music folder until his death and was published in 1855. The title "Fantasy" was taken at the time of publication.
正是首鋼琴曲最初將我帶入了肖邦的世界，也是我八年級時第壹次在練琴時時遇到困難。 這首曲子是升C小調，三段式。 它的困難在於在第壹和第三段中，左手的快速六連音與右手的四連音的錯位。這種錯位的技法和快速的節奏的結合使聽眾產生幻想，就如曲子的標題所說。 中間段樂章是降D大調，節奏較慢，帶有抒情旋律，這使聽眾進入了壹個美麗的幻想世界。 結尾低音中重復的重復旋律，仿佛幻想中的世界仍在腦海中。有意猶未盡之感
這是肖邦二十歲（1834年）的作品，但直到他去世後，他的後人才在活頁樂譜夾中發現，並於1855年出版。標題《幻想》是在出版時決定的。
Appreciation #2?Nocturne Op. 9 No. 1 in B-flat Minor 降B小調夜曲
參考演奏視頻：pletely obsessed with Chopin. The first melody successfully caught the ears of audiences into the dream world. This piece is in ternary form and a slow tempo. The use of ornaments in the right hands and the soft arpeggio of the left hands described the beautiful night of nature. The key changed to D-flat major in the middle section, and the pure and lyrical melody made the mood more dreamy. Then, it went back to the main melody. During the up climbing of the pitches, it dissipated like a ray of smoke before reaching the highest pitch. As the melody continued to climb, the climax arrives. After another repetition of this melody, the mood had quietly changed, and the sense of slight dissonance in harmony appeared as if it were a trace of fluctuation in a sweet dream. Slowly, the waves gradually smoothed, everything seemed to slowly dissipate, and the light slowly dimmed, just as everything was about to disappear, the familiar melody at the beginning sounded again, bringing the listener into the quiet forest floating forward in the trail. Finally, there are three chords like the church bells in the distance, which makes people feel quiet and comfortable. The dream-like mood gradually goes away and finally disappears…
This nocturne, together with the next two, was written in 1830-1832 and published in 1833. It is the earliest nocturne published by Chopin and dedicated to Mrs. Mary-Pryel.
當《幻想即興曲》為我打開了肖邦世界的第壹扇門後，這首夜曲讓我完全沈迷於肖邦。開篇的旋律就能將聽眾帶入夢境世界。這首曲子也是三段式，節奏較慢。右手裝飾音的使用和左手的柔和的琶音描述了大自然的美好夜晚。中段轉為降D大調，純凈而抒情的旋律使心情更加夢幻。中段過後，回到了主要旋律。音調的上升的過程就像壹縷煙霧壹樣消散著。隨著旋律的不斷攀升，高潮到來了。再次重復這種主旋律後，情緒悄然改變，韻律的輕微不和諧感出現了，好像是甜夢中的壹絲波動。慢慢地，海浪逐漸變平，壹切似乎都在慢慢消散，光線慢慢地變暗，就像壹切都將要消失壹樣，隨著熟悉的主旋律旋律再次響起，聽眾仿佛步入到懸浮的階梯直達寧靜森林。最後，遠處傳來三聲和弦，像教堂的鐘聲，使人感到安靜和舒適。夢境般的心情逐漸遠去，最後消逝……
這首夜曲以及其後的兩首夜曲，寫於1830年至1832年，並於1833年出版。這是肖邦出版的最早的夜曲，獻給瑪麗·普賴爾夫人。
Appreciation #3?Waltz in D-flat major, Op. 64, No. 1, “Waltz of the puppy” 小狗圓舞曲
參考演奏視頻：/watch?v=X2JCxapd5hU
This piece was created in 1846, dedicated to George Sand, who conducted a relationship with Chopin between 1837 and 1847. It is said that, as Chopin was composing the music for this piece, a little dog named Marquis was running around the house in which he was composing, gleefully chasing its tail. This waltz is also called “Minute Waltz” because it's short and in a fast tempo. The piece is in ternary form, triple meter. After the four-bar introduction, a rapid repetitive rotation melody pattern appeared, depicting how the puppy spun quickly chasing its tail. The tune is lively, witty, and funny. The second part is a beautiful and lyrical waltz theme, as if the puppy ran for a rest, lay down, and rested for a moment, laziness and comfort. The third part is back to the fast main melody, just like the game where the puppy starts chasing the tail after the rest, until the end of the music.
It was one of his final compositions. Chopin’s health was rapidly failing at the time of composing. He included the piece in his last ever concert in Paris in 1848, the year before he passed away (Palmer 2019).
這首作品創作於1846年，獻給喬治·桑德（George Sand），後者在1837年至1847年間與肖邦有著曖昧關系。據說當時肖邦正在寫這首曲子的時候，壹只叫侯爵（Marquis）的小狗在他正在房屋中四處奔跑，興高采烈地追逐著自己的尾巴繞圈圈。這首圓舞曲又短又快，因此也被稱為“分鐘華爾茲”。此曲是三段式，三拍子。在四小節引子之後，出現了快速重復的旋律，描繪了小狗如何快速追逐尾巴。樂曲生動活潑，風趣幽默。第二部分是壹個美麗而抒情的主題，仿佛小狗奔跑後，躺下休息了壹會兒，懶惰和舒適。第三部分回到快速的主旋律，小狗重新開始追逐尾巴，直到音樂結束。
這是肖邦的後期的作品。作曲時，肖邦的健康狀況迅速惡化。在他去世前壹年，他在1848年在巴黎舉行的最後壹場音樂會中演奏了這首曲子。
Appreciation #4?tude Op. 10, No. 12 in C minor 'Revolutionary' 革命練習曲
參考演奏視頻：posed of dissonant chords and the upstream syncopation in the main melody from the right hand express perseverance and fortitude. The repeated main melody in 0:38 but with a much lower dynamic conveys more than just anxiety and perseverance but also the painful struggle. In the middle of the piece, the emotion was enhanced by three repetitions of the main melody but with more chords and higher rhythm (1:15 - 1:58). After the three progressions, we seem to be able to see the dawn of victory. The ending of this piece uses four tonic chord of C major with fortississimo. The calm, powerful, and meaningful ending seems to express Chopin’s confidence and determination of victory.
在得知波蘭1831年革命失敗後，肖邦創作了這首充滿了強烈的憤怒和熱情的作品。壹開始的C小調屬七和弦的爆發為整首曲子奠定了主題基調。隨之而來的左手十六分音符快速傾瀉，喚起了憤怒和焦慮的心情。右手的由不協和和弦以及上升的附點音符組成的主旋律表達了剛硬的毅力。在視頻中的0:38，更低音量的主要旋律的重復不僅傳達了焦慮和毅力，還傳達了痛苦的鬥爭。在樂曲的中間，通過更多的和弦和更強的節奏來演示三次主旋律（1:15-1:58）充分增強的情感。經過這三個加強的主旋律的推進，我們似乎能夠看到勝利的曙光。作為壹首C小調樂曲，這首樂曲的結尾卻使用了C大調的四音和弦和最強音fff, 如此有力的大調結尾似乎表達了肖邦的信心和勝利的決心。
I have read a book that says that Chopin dedicated his music and whole heart to his motherland without reservation. He once wrote: “Sometimes I can only groan, suffer, and pour out my despair at the piano!” I believe the highest state of the art is the infusion of emotion. The artworks of Chopin are like a living person, with blood, flesh, and soul.
肖邦毫無保留地將他的音樂和真摯的心獻給了祖國。他曾經寫道：“有時候我只能呻吟，受苦，並把我的絕望傾瀉在鋼琴上！” 我相信最先進的鋼琴技術永遠是情感的註入。肖邦的作品就像壹個活著的人，有著鮮血，肉體和靈魂。