[音乐欣赏与音乐评论] Chopin 萧邦作品目录

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遗失作品 Polonaise For pianoforte, composed 1818. Presented by Chopin to the Empress Maria Teodorowna, mother of the Czar, on the occasion of her visit to Warszawa on 26 Sep 1818. Polonaise For pianoforte, composed 1818. Presented by Chopin to the Empress Maria Teodorowna, mother of the Czar, on the occasion of her visit to Warszawa on 26 Sep 1818. This is the second lost Polonaise of 1818! Variations For pianoforte, composed 1818. Mentioned in the "Pamietnik Warzawski" of 1818 Polonaise 'Barber of Seville' For pianoforte, composed 1825/11. In 1825/11 Chopin wrote to Bialoblocki: "I have done a new Polonaise on the "Barber" which is fairly well liked. I think of sending it to be lithographed tomorrow." Variations For pianoforte & pianoforte in F Major, composed 1826. Listed by Louise Chopin Variations on an Irish National Air (from Thomas Moore) For pianoforte & pianoforte, composed 1826. Stated to be "in D major or B minor." Waltz For pianoforte in C Major, composed 1826. Andante dolente For pianoforte in B flat minor, composed 1827. Mentioned in the list of Louise Chopin Ecossaise For pianoforte in B Flat Major, composed 1827. Mentioned in the list of Louise Chopin. Waltz For pianoforte in D minor, composed 1828. Given in Louise's list, with the date, and entitled (? by Louise) 'La partenza' ('The departure') Waltz For pianoforte (supposedly) in A Flat Major, composed 1830/12 (?). Known from a letter Chopin wrote on 12/21/1830 from Vienna to his family. Veni Creator 1830 (?). 无编号作品 Polonaise For pianoforte in G minor, (BI 1) composed 1817. Military March For pianoforte, (BI 2) composed 1817. no copy of this publication is known. The piece was scored for military band (not by Chopin) Polonaise For pianoforte in B Flat Major, (BI 3) composed 1817. Mazurka ('Mazurek') For pianoforte in D Major, (BI 4) composed 1820 (?). Date of completion doubtful! Polonaise For pianoforte in A Flat Major, (BI 5) composed 1821/4. Manuscript is a doubtful autograph. Polonaise For pianoforte in G sharp minor, (BI 6) composed 1822. No publisher's number on publication. First name of Mme. Dupont doubtful. Variations on a theme from Rossini's 'La Cenerentola' For pianoforte & flute in E Major, (BI 9) composed 1824. Polonaise For pianoforte in B Flat Major, (BI 13) composed 1826/7. Introduction and Variations on a German National Air ('Der Schweizerbub') For pianoforte in E Major, (BI 14) composed 1826/summer. The folk-song is probably Tyrolean Mazurka No. 1 For pianoforte in G Major, (BI 16) composed 1826. The Mazurka exists in 2 versions: 1st version published by M. Leitgeber, Poznan, 5 Jan 1875. 2nd version published in Warszawa 1826 Mazurka No. 2 For pianoforte in B Flat Major, (BI 16) composed 1826. The Mazurka exists in 2 versions: 1st version published by M. Leitgeber, Poznan, 5 Jan 1875. 2nd version published in Warszawa 1826. Contredanse For pianoforte in G Flat Major, (BI 17) composed 1827 (?). Waltz For pianoforte in A Flat Major, (BI 21) composed 1827. Mazurka For pianoforte in D Major, (BI 31) composed 1829. Polonaise For pianoforte in G Flat Major, (BI 36) composed 1829/7 before (probably). Variations 'Souvenir de Paganini' For pianoforte in A Major, (BI 37) composed 1829/summer. Theme of these variations is the Italian air 'Le Carnival de Venise' used by Paganini himself as the basis of variations in his Op. 10. Mazurka For pianoforte in G Major, (BI 39) composed 1829/8/22. This is the setting of a poem by Ignac Macicowski, who accompanied Chopin in August 1829 when returning from Wien to Warszawa. Waltz (sketch) For pianoforte in A minor, (BI 40) composed 1829 (?). The manuscript consists of sketches for a brief prelude and the main theme. Waltz For pianoforte in E Major, (BI 44) composed 1829. Waltz For pianoforte in E Flat Major, (BI 46) composed 1829 - 1830. Nocturne (Lento con gran espressione) For pianoforte in C sharp minor, (BI 49) composed 1830/spring. dedication doubtful, see Monthly Musical Record, Nov-Dec 1956. Song - 'Charms' ('This charms, so surely charms!') ['Czary' ('To sa czary, pewno czary!') ] For voice & pianoforte in D minor, (BI 51) composed 1830. The 1910 edition was a facsimile reproduction of an album Chopin had sent to Maria Wodzinska. Brown (1960), p. 52, says "the first true publication was in vol. XVII of the Polish 'Complete works' of Chopin, Warsaw, 1954". Waltz For pianoforte in E minor, (BI 56) composed 1830/5 (?). Contrabass part to a three-part Canon by Mendelssohn For pianoforte in B minor, (BI 69) composed 1832/4/16. Grand Duo on themes from Meyerbeer's 'Robert le Diable' For pianoforte & cello in E Major, (BI 70) composed 1832/early. Mazurka For pianoforte in D Major, (BI 71) composed 1832. This is a considerably revised version of the Mazurka in D major, of 1829 (see Brown (1960) p. 30) Mazurka For pianoforte in B Flat Major, (BI 73) composed 1832/6/24. Mazurka For pianoforte in C Major, (BI 82) composed 1833. Cantabile For pianoforte in B Flat Major, (BI 84) composed 1834. Mazurka For pianoforte in A Flat Major, (BI 85) composed 1834/7. Prelude For pianoforte in A Flat Major, (BI 86) composed 1834/7/10. Nocturne For pianoforte in C minor, (BI 108) composed 1837. Largo in E flat major For pianoforte in E Flat Major, (BI 109) composed 1837 (?). Variation no. 6, for the 'Hexameron' For pianoforte in E Major, (BI 113) composed 1837. Canon at the octave For pianoforte in F minor, (BI 129) composed 1839 (?). Nouvelle Etude no. 1 For pianoforte in F minor, (BI 130) composed 1839/autumn late. Nouvelle Etude no. 2 For pianoforte in A Flat Major, (BI 130) composed 1839/autumn late. Nouvelle Etude no. 3 For pianoforte in D Flat Major, (BI 130) composed 1839/autumn late. Song 'Dirge' ('Mist before my eyes') ['Dumka'('Mgla mi do oczu zawiewa zlona') ] For voice & pianoforte in A minor, (BI 132) composed 1840/3/25. Waltz ('Sostenuto') For pianoforte in E Flat Major, (BI 133) composed 1840/7/20. Mazurka ('Notre Temps') For pianoforte in A minor, (BI 134) composed 1840/summer. Mazurka For pianoforte in A minor, (BI 140) composed 1841. Fugue For pianoforte in A minor, (BI 144) composed 1841-42. Waltz For pianoforte in A minor, (BI 150) composed 1843 (?). Moderato ('Albumblatt') For pianoforte in E Major, (BI 151) composed 1843. Bourree no. 1 For pianoforte in G Major, (BI 160) composed 1846 (?). Bourree no. 2 For pianoforte in A Major, (BI 160) composed 1846 (?). Waltz For pianoforte in B Major, (BI 166) composed 1848/10/12. Variations For pianoforte & pianoforte in D Major . 编号作品 Rondo Op. 1 For pianoforte in C minor, Op. 1 (BI 10) composed 1825/5. The work has been erroneously called "Rondeau on 'Don Giovanni'" Variations on a theme from Mozart's 'Don Giovanni' ('La ci darem la mano') Op. 2 For pianoforte & orchestra in B Flat Major, Op. 2 (BI 22) composed 1827/summer late. Polonaise Op. 3 For pianoforte & cello in C Major, Op. 3 (BI 41) composed 1829/10/20 - 1829/10/28. There exist arrangements for pianoforte solo, for pianoforte & cello OR violin, for pianoforte & viola, for pianoforte & flute. These arrangements are not Chopin's. For details see Brown (1960) p. 41. Introduction to the Polonaise Op. 3 For pianoforte & cello in C Major, Op. 3 (BI 52) composed 1830/4. Sonata Op. 4 (posth.) For pianoforte in C minor, Op. 4 (BI 23) composed 1828/early. The inscription on the autograph says "oeuvre 3", which is incorrect. Rondo a la Mazur Op. 5 For pianoforte in F Major, Op. 5 (BI 15) composed 1826. Mazurka Op. 6, 1 For pianoforte in F sharp minor, Op. 6, 1 (BI 60) composed 1830/late. Mazurka Op. 6, 2 For pianoforte in C sharp minor, Op. 6, 2 (BI 60) composed 1830/late. Mazurka Op. 6, 3 For pianoforte in E Major, Op. 6, 3 (BI 60) composed 1830/late. Mazurka Op. 6, 4 For pianoforte in E flat minor, Op. 6, 4 (BI 60) composed 1830/late. Mazurka Op. 7, 1 For pianoforte in B Flat Major, Op. 7, 1 (BI 61) composed 1830-31. Mazurka Op. 7, 2 For pianoforte in A minor, Op. 7, 2 (BI 61) composed 1830-31. for the 1st version see BI 45 Mazurka Op. 7, 3 For pianoforte in F minor, Op. 7, 3 (BI 61) composed 1830-31. Mazurka Op. 7, 4 (1st version) For pianoforte in A Flat Major, Op. 7, 4 (BI 7) composed 1824.. This is the first version of BI 61 = Op. 7, 4 Mazurka Op. 7, 4 For pianoforte in A Flat Major, Op. 7, 4 (BI 61) composed 1824. Mazurka Op. 7, 5 For pianoforte in C Major, Op. 7, 5 (BI 61) composed 1830-31. Trio Op. 8 For pianoforte & viol& cello in G minor, Op. 8 (BI 25) composed 1829/early. Nocturne Op. 9, 1 For pianoforte in B flat minor, Op. 9, 1 (BI 54) composed 1830-31/spring. Nocturne Op. 9, 2 For pianoforte in E Flat Major, Op. 9, 2 (BI 54) composed 1830-31/spring. Nocturne Op. 9, 3 For pianoforte in B Major, Op. 9, 3 (BI 54) composed 1830-31/spring. Study Op. 10, 1 For pianoforte in C Major, Op. 10, 1 (BI 59) composed 1830/late autumn. Study Op. 10, 2 For pianoforte in A minor, Op. 10, 2 (BI 59) composed 1830/late autumn. Study Op. 10, 3 For pianoforte in E Major, Op. 10, 3 (BI 74) composed 1832/8/25. Study Op. 10, 4 For pianoforte in C sharp minor, Op. 10, 4 (BI 75) composed 1832/8. Study Op. 10, 5 For pianoforte in G Flat Major, Op. 10, 5 (BI 57) composed 1830/summer (?). Study Op. 10, 6 For pianoforte in E Flat Major, Op. 10, 6 (BI 57) composed 1830/summer (?). Study Op. 10, 7 For pianoforte in C Major, Op. 10, 7 (BI 68) composed 1832/spring. Study Op. 10, 8 For pianoforte in F Major, Op. 10, 8 (BI 42) composed 1829/10 - 1829/11. Study Op. 10, 9 For pianoforte in F minor, Op. 10, 9 (BI 42) composed 1829/10 - 1829/11. Study Op. 10, 10 For pianoforte in A Flat Major, Op. 10, 10 (BI 42) composed 1829/10 - 1829/11. Study Op. 10, 11 For pianoforte in E Flat Major, Op. 10, 11 (BI 42) composed 1829/10 - 1829/11. Study Op. 10, 12 For pianoforte in C minor, Op. 10, 12 (BI 67) composed 1831/9 (?). Concerto Op. 11 For pianoforte & orchestra in E minor, Op. 11 (BI 53) composed 1830/4-8. Introduction and Variations on the 'Ronde' from Herold's 'Ludovic' Op. 12 For pianoforte B Flat Major, Op. 12 (BI 80) composed 1833/summer. Grand Fantasia on Polish Airs Op. 13 For pianoforte & orchestra in A Major, Op. 13 (BI 28) composed 1828/11. Among the Polish airs used are: The folk song 'Juz miesiac zaszedl, psy sie uspily' ('Already the moon had set, the dogs were asleep') An air by Karol (Kasimir) Kurpinski A Kujawiak (see: Abraham, Gerald, "Chopin's musical style", London 1939, p. 23) Krakowiak: Grand Concert Rondo Op. 14 For pianoforte & orchestra in F Major, Op. 14 (BI 29) composed 1828/11-12. A Krakowiak is a Polish dance in 2/4 time of the Krakow district. Nocturne Op. 15, 1 For pianoforte in F Major, Op. 15, 1 (BI 55) composed 1830-31 (Arthur Hedley says later, after Chopin's arrival in Paris). Nocturne Op. 15, 2 For pianoforte in F Sharp Major, Op. 15, 2 (BI 55) composed 1830-31/spring (Arthur Hedley says later, after Chopin's arrival in Paris). Nocturne Op. 15, 3 For pianoforte in G minor, Op. 15, 3 (BI 79) composed 1833. Introduction and Rondo Op. 16 For pianoforte in E Flat Major, Op. 16 (BI 76) composed 1832. Mazurka Op. 17, 1 For pianoforte in B Flat Major, Op. 17, 1 (BI 77) composed 1832-33. Mazurka Op. 17, 2 For pianoforte in E minor, Op. 17, 2 (BI 77) composed 1832-33. Mazurka Op. 17, 3 For pianoforte in A Flat Major, Op. 17, 3 (BI 77) composed 1832-33. Mazurka Op. 17, 4 (1st version) For pianoforte in A minor, Op. 17, 4 (BI 8) composed 1824/8. This is the first version of BI 77 = Op. 17, 4 Mazurka Op. 17, 4 For pianoforte in A minor, Op. 17, 4 (BI 77) composed 1832-33. Waltz Op. 18 For pianoforte in E Flat Major, Op. 18 (BI 62) composed 1831. Introduction and Bolero Op. 19 For pianoforte in A minor, Op. 19 (BI 81) composed 1833. Key changes to A Major. Scherzo no. 1 Op. 20 For pianoforte in B minor, Op. 20 (BI 65) composed 1831/5-6, 1832 revised. Concerto Op. 21 For pianoforte & orchestra in F minor, Op. 21 (BI 43) composed 1829/autumn - 1830/early. Breitkopf & Haertel published an arrangement for pianoforte solo shortly after the 1st publication. First known performance was privately in Chopin's home on 1830/3/3, with Kurpinski conducting. Public performance a fortnight later in National Theatre, Warszawa. The work was called 'Second Concerto' on publication due to a delay in preparing the orchestral parts. In order of composition it is the first. Grand Polonaise Op. 22 For pianoforte & orchestra in E Flat Major, Op. 22 (BI 58) composed 1830/9 - 1831/7. Andante Spianato Op. 22 For pianoforte in G Major, Op. 22 (BI 88) composed 1834. Ballade no. 1 Op. 23 For pianoforte in G minor, Op. 23 (BI 66) composed 1831/5-6 sketched, 1835 completed. Mazurka Op. 24, 1 For pianoforte in G minor, Op. 24, 1 (BI 89) composed 1834-35. Mazurka Op. 24, 2 For pianoforte in C Major, Op. 24, 2 (BI 89) composed 1834-35. Mazurka Op. 24, 3 For pianoforte in A Flat Major, Op. 24, 3 (BI 89) composed 1834-35. Mazurka Op. 24, 4 For pianoforte in B Flat Major, Op. 24, 4 (BI 89) composed 1834-35. Study Op. 25, 1 For pianoforte in A Flat Major, Op. 25, 1 (BI 104) composed 1836/9 early. Study Op. 25, 2 For pianoforte in F minor, Op. 25, 2 (BI 97) composed 1836/1. Study Op. 25, 3 For pianoforte in F Major, Op. 25, 3 (BI 99) composed 1836. Study Op. 25, 4 For pianoforte in A minor, Op. 25, 4 (BI 78) composed 1832-34. Study Op. 25, 5 For pianoforte in E minor, Op. 25, 5 (BI 78) composed 1832-34. Study Op. 25, 6 For pianoforte in G sharp minor, Op. 25, 6 (BI 78) composed 1832-34. Study Op. 25, 7 For pianoforte in C sharp minor, Op. 25, 7 (BI 98) composed 1836/early. Study Op. 25, 8 For pianoforte in D Flat Major, Op. 25, 8 (BI 78) composed 1832-34. Study Op. 25, 9 For pianoforte in G Flat Major, Op. 25, 9 (BI 78) composed 1832-34. Study Op. 25, 10 For pianoforte in B minor, Op. 25, 10 (BI 78) composed 1832-34. Study Op. 25, 11 For pianoforte in A minor, Op. 25, 11 (BI 83) composed 1834. Study Op. 25, 12 For pianoforte in C minor, Op. 25, 12 (BI 99) composed 1836. Polonaise Op. 26, 1 For pianoforte in C sharp minor, Op. 26, 1 (BI 90) composed 1834-35. Polonaise Op. 26, 2 For pianoforte in E Flat Major, Op. 26, 2 (BI 90) composed 1834-35. Nocturne Op. 27, 1 For pianoforte in C sharp minor, Op. 27, 1 (BI 91) composed 1835. Nocturne Op. 27, 2 For pianoforte in D Flat Major, Op. 27, 2 (BI 96) composed 1835/autumn. Prelude Op. 28, 1 (?) For pianoforte in C Major, Op. 28, (BI 124) composed 1839/11 (?). Prelude Op. 28, 2 For pianoforte in A minor, Op. 28, 2 (BI 123) composed 1838/11-12. Prelude Op. 28, 3 For pianoforte in G Major, Op. 28, 3 (BI 107) composed 1836-1838/11. Prelude Op. 28, 4 For pianoforte in E minor, Op. 28, 4 (BI 123) composed 1838/11-12. Prelude Op. 28, 5 For pianoforte in D Major, Op. 28, 5 (BI 107) composed 1836-1838/11. Prelude Op. 28, 6 For pianoforte in B minor, Op. 28, 6 (BI 107) composed 1836-1838/11. Prelude Op. 28, 7 For pianoforte in A Major, Op. 28, 7 (BI 100) composed 1836. Prelude Op. 28, 8 For pianoforte in F Sharp Major, Op. 28, 8 (BI 107) composed 1836-1838/11. Prelude Op. 28, 9 For pianoforte in E Major, Op. 28, 9 (BI 107) composed 1836-1838/11. Prelude op, 28, 10 For pianoforte in C sharp minor, Op. 28, 10 (BI 123) composed 1838/11-12. Prelude Op. 28, 11 For pianoforte in B Major, Op. 28, 11 (BI 107) composed 1836-1838/11. Prelude Op. 28, 12 For pianoforte in G sharp minor, Op. 28, 12 (BI 107) composed 1836-1838/11. Prelude Op. 28, 13 For pianoforte in F Sharp Major, Op. 28, 13 (BI 107) composed 1836-1838/11. Prelude Op. 28, 14 For pianoforte in E flat minor, Op. 28, 14 (BI 107) composed 1836-1838/11. Prelude Op. 28, 15 For pianoforte in D Flat Major, Op. 28, 15 (BI 107) composed 1836-1838/11. Prelude Op. 28, 16 For pianoforte in B flat minor, Op. 28, 16 (BI 107) composed 1836-1838/11. Prelude Op. 28, 17 For pianoforte in A Flat Major, Op. 28, 17 (BI 100) composed 1836. Prelude Op. 28, 18 For pianoforte in F minor, Op. 28, 18 (BI 107) composed 1836-1838/11. Prelude Op. 28, 19 For pianoforte in E Flat Major, Op. 28, 19 (BI 107) composed 1836-1838/11. Prelude Op. 28, 20 For pianoforte in C minor, Op. 28, 20 (BI 107) composed 1836-1838/11. Prelude Op. 28, 21 For pianoforte in B Flat Major, Op. 28, 21 (BI 123) composed 1838/11-12. Prelude Op. 28, 22 For pianoforte in G minor, Op. 28, 22 (BI 107) composed 1836-1838/11. Prelude Op. 28, 23 For pianoforte in F Major, Op. 28, 23 (BI 107) composed 1836-1838/11. Prelude Op. 28, 24 For pianoforte in D minor, Op. 28, 24 (BI 107) composed 1836-1838/11. Impromptu no. 1 Op. 29 For pianoforte in A Flat Major, Op. 29 (BI 110) composed 1837. Mazurka Op. 30, 1 For pianoforte in C minor, Op. 30, 1 (BI 105) composed 1836-37. Mazurka Op. 30, 2 For pianoforte in B minor, Op. 30, 2 (BI 105) composed 1836-37. Mazurka Op. 30, 3 For pianoforte in D Flat Major, Op. 30, 3 (BI 105) composed 1836-37. Mazurka Op. 30, 4 For pianoforte in C sharp minor, Op. 30, 4 (BI 105) composed 1836-37. Scherzo no. 2 Op. 31 For pianoforte in B flat minor, Op. 31 (BI 111) composed 1837. Nocturne Op. 32, 1 For pianoforte in B Major, Op. 32, 1 (BI 106) composed 1836-37. Nocturne Op. 32, 2 For pianoforte in A Flat Major, Op. 32, 2 (BI 106) composed 1836-37. Mazurka Op. 33, 1 For pianoforte in G sharp minor, Op. 33, 1 (BI 115) composed 1837-38. Mazurka Op. 33, 2 For pianoforte in D Major, Op. 33, 2 (BI 115) composed 1837-38. Mazurka Op. 33, 3 For pianoforte in C Major, Op. 33, 3 (BI 115) composed 1837-38. Mazurka Op. 33, 4 For pianoforte in B minor, Op. 33, 4 (BI 115) composed 1837-38. Waltz Op. 34, 1 For pianoforte in A Flat Major, Op. 34, 1 (BI 94) composed 1835/9/15. Waltz Op. 34, 2 For pianoforte in A minor, Op. 34, 2 (BI 64) composed 1831. Waltz Op. 34, 3 For pianoforte in F Major, Op. 34, 3 (BI 118) composed 1838. Funeral March from Sonata Op. 35 For pianoforte in B flat minor, Op. 35 (BI 114) composed 1837. Sonata no. 1 Op. 35 (1st movement, Scherzo, Finale) For pianoforte in B flat minor, Op. 35 (BI 128) composed 1839/summer. Impromptu no. 2 Op. 36 For pianoforte in F Sharp Major, Op. 36 (BI 129) composed 1839/autumn early. Nocturne Op. 37, 1 For pianoforte in G minor, Op. 37, 1 (BI 119) composed 1838. Nocturne Op. 37, 2 For pianoforte in G Major, Op. 37, 2 (BI 127) composed 1839/7/2. Ballade no. 2 Op. 38 For pianoforte in F Major, Op. 38 (BI 102) composed 1836 1st version, 1839/1 final version. Scherzo no. 3 Op. 39 For pianoforte in C sharp minor, Op. 39 (BI 125) composed 1839/1 - 1839/mid. Polonaise Op. 40, 1 For pianoforte in A Major, Op. 40, 1 (BI 120) composed 1838/10. Polonaise Op. 40, 2 For pianoforte in C minor, Op. 40, 2 (BI 121) composed 1838/10 (sketch) 1839/early (finished). Mazurka Op. 41, 1 For pianoforte in C sharp minor, Op. 41, 1 (BI 126) composed 1839/7. Mazurka Op. 41, 2 For pianoforte in E minor, Op. 41, 2 (BI 122) composed 1838/11/28. Mazurka Op. 41, 3 For pianoforte in B Major, Op. 41, 3 (BI 126) composed 1839/7. Mazurka Op. 41, 4 For pianoforte in A Flat Major, Op. 41, 4 (BI 126) composed 1839/7. Waltz Op. 42 For pianoforte in A flat minor, Op. 42 (BI 131) composed 1840/spring. Tarantella Op. 43 For pianoforte in A Flat Major, Op. 43 (BI 139) composed 1841/summer. Polonaise Op. 44 For pianoforte in F sharp minor, Op. 44 (BI 135) composed 1840/late - 1841/8. Prelude Op. 45 For pianoforte in C sharp minor, Op. 45 (BI 141) composed 1841/8-9. Allegro de Concert Op. 46 For pianoforte in A Major, Op. 46 (BI 72) composed 1832 sketched, 1841/5 completed. Originally conceived as a concerto for pianoforte and orchestra. Ballade no. 3 Op. 47 For pianoforte in A Flat Major, Op. 47 (BI 136) composed 1840 (sketch) 1841/summer (finished). Nocturne Op. 48, 1 For pianoforte in C minor, Op. 48, 1 (BI 142) composed 1841/10. Nocturne Op. 48, 2 For pianoforte in F sharp minor, Op. 48, 2 (BI 142) composed 1841/10. Fantasia Op. 49 For pianoforte in F minor, Op. 49 (BI 137) composed 1841/early (sketch) 1841/5 (finished). Mazurka Op. 50, 1 For pianoforte in G Major, Op. 50, 1 (BI 145) composed 1841/autumn-1842/summer. Mazurka Op. 50, 2 For pianoforte in A Flat Major, Op. 50, 2 (BI 145) composed 1841/autumn- 1842/summer. Mazurka Op. 50, 3 For pianoforte in C sharp minor, Op. 50, 3 (BI 145) composed 1841/autumn- 1842/summer. Impromptu no. 3 Op. 51 ('Allegro Vivace') For pianoforte in G Flat Major, Op. 51 (BI 149) composed 1842/autumn. Ballade no. 4 Op. 52 For pianoforte in F minor, Op. 52 (BI 146) composed 1842. Polonaise Op. 53 For pianoforte in A Flat Major, Op. 53 (BI 147) composed 1842. Scherzo no. 4 Op. 54 For pianoforte in E Major, Op. 54 (BI 148) composed 1842. Nocturne Op. 55, 1 For pianoforte in F minor, Op. 55, 1 (BI 152) composed 1843. Nocturne Op. 55, 2 For pianoforte in E Flat Major, Op. 55, 2 (BI 152) composed 1843. Mazurka Op. 56, 1 For pianoforte in B Major, Op. 56, 1 (BI 153) composed 1843. Mazurka Op. 56, 2 For pianoforte in C Major, Op. 56, 2 (BI 153) composed 1843. Mazurka Op. 56, 3 For pianoforte in C minor, Op. 56, 3 (BI 153) composed 1843. Berceuse Op. 57 For pianoforte in D Flat Major, Op. 57 (BI 154) composed 1843, revised in 1844. Sonata no. 2 Op. 58, 2 For pianoforte in B minor, Op. 58, 2 (BI 155) composed 1844/summer. Mazurka Op. 59, 1 For pianoforte in A minor, Op. 59, 1 (BI 157) composed 1845/6-7. Mazurka Op. 59, 2 For pianoforte in A Flat Major, Op. 59, 2 (BI 157) composed 1845/6-7. Mazurka Op. 59, 3 For pianoforte in F sharp minor, Op. 59, 3 (BI 157) composed 1845/6-7. Barcarolle Op. 60 For pianoforte in F Sharp Major, Op. 60 (BI 158) composed 1845/autumn- 1846/summer. Polonaise-Fantaisie Op. 61 For pianoforte in A Flat Major, Op. 61 (BI 159) composed 1845/autumn- 1846/summer. Nocturne Op. 62, 1 For pianoforte in B Major, Op. 62, 1 (BI 161) composed 1846. Nocturne Op. 62, 2 For pianoforte in E Major, Op. 62, 2 (BI 161) composed 1846. Mazurka Op. 63, 1 For pianoforte in B Major, Op. 63, 1 (BI 162) composed 1846/autumn early. Mazurka Op. 63, 2 For pianoforte in F minor, Op. 63, 2 (BI 162) composed 1846/autumn early. Mazurka Op. 63, 3 For pianoforte in C sharp minor, Op. 63, 3 (BI 162) composed 1846/autumn early. Waltz Op. 64, 1 For pianoforte in D Flat Major, Op. 64, 1 (BI 164) composed 1846-47. Waltz Op. 64, 2 For pianoforte in C sharp minor, Op. 64, 2 (BI 164) composed 1846-47. Waltz Op. 64, 3 For pianoforte in A Flat Major, Op. 64, 3 (BI 164) composed 1846-47. Sonata Op. 65 For pianoforte in & cello in G minor, Op. 65 (BI 160) composed 1845/autumn- 1846. Fantasie-Impromptu Op. 66 (posth.) For pianoforte in C sharp minor, Op. 66 (BI 87) composed 1834. Mazurka Op. 67, 1 (posth.) For pianoforte in G Major, Op. 67, 1 (BI 93) composed 1835. Mazurka Op. 67, 2 (posth.) For pianoforte in G minor, Op. 67, 2 (BI 167) composed 1849/summer. Mazurka Op. 67, 3 (posth.) For pianoforte in C Major, Op. 67, 3 (BI 93) composed 1835. Mazurka Op. 67, 4 (posth.) For pianoforte in A minor, Op. 67, 4 (BI 163) composed 1846. There are three versions. Mazurka Op. 68, 1 (posth.) For pianoforte in C Major, Op. 68, 1 (BI 38) composed 1829. Mazurka Op. 68, 2 (posth.) For pianoforte in A minor, Op. 68, 2 (BI 18) composed 1827. Mazurka Op. 68, 3 (posth.) For pianoforte in F Major, Op. 68, 3 (BI 34) composed 1829. The section 'poco piu vivo' is from the folk-tune 'Oj Magdalino' Mazurka Op. 68, 4 (posth.) For pianoforte in F minor, Op. 68, 4 (BI 168) composed 1849/summer. Waltz Op. 69, 1 (posth.) ('L'Adieu Waltz') For pianoforte in A Flat Major, Op. 69, 1 (BI 95) composed 1835/9/24. Waltz Op. 69, 2 (posth.) For pianoforte in B minor, Op. 69, 2 (BI 35) composed 1829. Waltz Op. 70, 1 (posth.) For pianoforte in G Flat Major, Op. 70, 1 (BI 92) composed 1835. Mazurka Op. 70, 2 (1st version) For pianoforte in A minor, Op. 70, 2 (BI 45) composed 1829. Waltz Op. 70, 2 (posth.) For pianoforte in F minor, Op. 70, 2 (BI 138) composed 1841/6. Waltz Op. 70, 3 (posth.) For pianoforte in D Flat Major, Op. 70, 3 (BI 40) composed 1829/10/3. Polonaise Op. 71, 1 (posth.) For pianoforte in D minor, Op. 71, 1 (BI 11) composed 1825. Polonaise Op. 71, 2 (posth.) For pianoforte in B Flat Major, Op. 71, 2 (BI 24) composed 1828. no tempo or expression marks in the manuscript Polonaise Op. 71, 3 (posth.) For pianoforte in F minor, Op. 71, 3 (BI 30) composed 1828. Nocturne Op. 72, 1 (posth.) For pianoforte in E minor, Op. 72, 1 (BI 19) composed 1827. Funeral March Op. 72, 2 (posth.) For pianoforte in C minor, Op. 72, 2 (BI 20) composed 1827. The work exists in 2 versions: Published by Schlesinger 1855/5. Published in Oxford Edition of Chopin's Works III, ed. E. Ganche, London 1932 Ecossaise Op. 72, 3, 1 (posth.) For pianoforte in D Major, Op. 72, 3, 1 (BI 12) composed 1826. Ecossaise Op. 72, 3, 2 (posth.) For pianoforte in G Major, Op. 72, 3, 2 (BI 12) composed 1826. Ecossaise Op. 72, 3, 3 (posth.) For pianoforte in D Flat Major, Op. 72, 3, 3 (BI 12) composed 1826. Rondo Op. 73 For pianoforte in C Major, Op. 73 (BI 26) composed 1828/summer. Four pages facsimile in the Warszawa edition of 1954. This is the earlier version of BI 27. Rondo Op. 73 (final version) (posth.) For pianoforte & pianoforte in C Major, Op. 73 (BI 27) composed 1828/8. This is the final version of BI 26 Song Op. 74, 1 'The wish' ('Were I the sun in the sky') ['Zyczenie' ('Gdybym byla sloneczkiem na') ] For voice & pianoforte in A Major, Op. 74, 1 (BI 33) composed 1829. (1) Liszt used the song as no. 2 of 'Glanes de Woronince' (publ. Kistner, Leipzig 1849), calling it 'Melodie Polonaise' (2) Text by Stefan Witwicki Song Op. 74, 2 'Spring' ('The dew glistens, the stream gushes through the fields') ['Wiosna'('Blyscza krople rosy mruczy zdroj po bloni') ] For voice & pianoforte in G minor, Op. 74, 2 (BI 116) composed 1838. Text by Stefan Witwicki Andantino Op. 74, 2 (solo arr. for pianoforte of the song Op. 74, 2) For pianoforte in G minor, Op. 74, 2 (BI 117) composed 1838/4 - 1848/9/1 (?). Date is doubtful; there are 5 manuscripts dated between April 1838 and 1 September 1848. The Andantino is an arrangement for pianoforte solo from the Song Op. 74, 2 'Wiosna' ('Spring'). Song Op. 74, 3 'The sad stream' ('A stream flowing from foreign parts') ['Smutna Rzeka' ('Rzeko z cudzoziemcow strony') ] For voice & pianoforte in F sharp minor, Op. 74, 3 (BI 63) composed 1831. Text by Stefan Wiwicki Song Op. 74, 4 'Merrymaking' ('Serving Maid, take care') ['Hulanka' ('Szynkareczko') ] For voice & pianoforte in E Flat Major, Op. 74, 4 (BI 50) composed 1830. Text by Stefan Witwicki Song Op. 74, 5 'There where she loves' ('A stream loves the vale') ['Gdzie lubi' ('Strumyk lubi w dolinie') ] For voice & pianoforte in A Major, Op. 74, 5 (BI 32) composed 1829. Text by Stefan Witwicki Song Op. 74, 6 'Out of my sight!' ('Out of my sight') ['Precz z moich oczu!'('Precz z moich oczu! posluchani odrazu!') ] For voice & pianoforte in F minor, Op. 74, 6 (BI 48) composed 1830/spring. Key changes to A flat major! Text by Adam Mickiewicz. Song Op. 74, 7 'The envoy' ('The early sun broke forth') ['Posel'('Blyslo ranne ziolko') ] For voice & pianoforte in F Major, Op. 74, 7 (BI 50) composed 1830. Text by Stefan Witwicki Song Op. 74, 8 'Handsome Lad' ('Strong, tall and young') ['Sliczny chlopiec'('Wzniosly, smukly i mlody') ] For voice & pianoforte in D Major, Op. 74, 8 (BI 143) composed 1841. Text by Bohdan Zaleski Song Op. 74, 9 'Melody' ('From the mountains they bore the terrible crosses') ['Melodya' ('Z gor gdzie dzwigali strasznych krzyzow') ] For voice & pianoforte in G Major, Op. 74, 9 (BI 165) composed 1847. Key changes to E minor! Text by Zygmunt Krasinski, early editions give "Author unknown" Song Op. 74, 10 'The Warrior' ('My bay horse neighs') ['Wojak' ('Rzyj moj gniady') ] For voice & pianoforte in A Flat Major, Op. 74, 10 (BI 47) composed 1830/spring. Text by Stefan Witwicki Song Op. 74, 11 'The Double End' ('They loved for a year...') ['Dwojaki koniec' ('Rok sie kochali...') ] For voice & pianoforte in D minor, Op. 74, 11 (BI 156) composed 1845. Text by Bohdan Zaleski Song Op. 74, 12 'My darling' ('My darling when you are happily singing') [Moja 'pieszczotka' ('Moja pieszczotka gdy wesolej') ] For voice & pianoforte in G Flat Major, Op. 74, 12 (BI 112) composed 1837. Text by Adam Mickiewicz Song Op. 74, 13 'I want what I have not' ('Mist before my eyes') ['Nie ma czego trzeba' ('Mgla mi do oczu') ] For voice & pianoforte in A minor, Op. 74, 13 (BI 156) composed 1845. Text by Bohdan Zaleski Song Op. 74, 14 The ring ('I'm sad, nurse') [Pierscien ('Smutno nianki, ci spiewaly') ] For voice & pianoforte in E Flat Major, Op. 74, 14 (BI 103) composed 1836/9/8. Text by Stefan Witwicki Song Op. 74, 15 'The Bridgeroom' ('The wind rose...') ['Narzeczony' ('Wiatr zaszumial') ] For voice & pianoforte in E minor, Op. 74, 15 (BI 63) composed 1831. Text by Stefan Witwicki Song Op. 74, 16 'Lithuanian Song' ('Very early in the morning') ['Piosnka Litewska' ('Bardzo raniuchno') ] For voice & pianoforte in F Major, Op. 74, 16 (BI 63) composed 1830-31. Text by Ludwika Osinskiego Song Op. 74, 17 Poland's Dirge 'Hymn from the Tomb' ('The leaves drift from the trees') [Spiew grobowy ('Leca liscie z drzewa') ] For voice & pianoforte in E flat minor, Op. 74, 17 (BI 101) composed 1836.
 
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利得利克·肖邦(1810一1849)生于华沙的近郊热里亚佐瓦·沃利亚。他的父亲尼古拉·肖邦原是法国人,后迁波兰,曾 参加过1794年波兰民族英雄柯斯秋什科(1746─1817)领导的反抗 侵略者的起义。起义失败后流落华沙,靠教学等工作度日。后 来,他又在家中开设了一所寄宿学校。从此,他就不再参与政事, 只求平安地生活下去。但是,他和华沙的文化界人士保持有较密 切的来往,这对小肖邦的思想成长是有影响的。

肖邦从小就显示出特殊的音乐才能,不仅能弹钢琴,并能作 曲。七岁时,就发表了他的第一首作品──g小调波兰舞曲。八 岁时,他举行了第一次公开的演奏。从此,肖邦就以钢琴演奏“神童”的身分,经常被华沙的贵族邀请去演奏,一时成为贵族 沙龙中的宠儿。1825年,前来华沙参加波兰议会的俄国沙皇亚历 山大一世,也出席了肖邦的一次演奏会,还赐给了肖邦一枚钻石 戒指。肖邦童年、少年时代的这些经历,和他此后的遭遇形成了 强烈的对比。

邦在少年时代,还接触到波兰城乡的民间音乐以及不少波 兰爱国人士的进步思想。1826年起,肖邦正式成为音乐学院的学 生,与不少思想进步的师生交往。这些年里,肖郑经常去乡间度 假。他欣赏祖国的自然风光,倾听农民的歌唱、奏乐,参加乡村 的舞会和婚礼。祖国的文化、民族民间的音乐,就像种子一样, 播种在肖邦的心田里。

十八世纪末至十九世纪中的波兰,是一个多灾多难的国家, 但也是一个可歌可泣的民族。1772、1793、1795年,俄国、普鲁 士、奥地利三个强国对弱小的波兰进行了三次瓜分。他们瓜分波 兰的领土,奴役波兰的人民,还想扼杀波兰人民的民族意识,以 使他们能长久地统治下去。可是,正如一首波兰爱国歌曲所唱 的:“波兰不会灭亡!”波兰人民始终坚持着不屈不挠的爱国斗争。 十九世纪上半叶波兰进步的、民族的浪漫主义文艺,对这个斗争 起了很大的促进作用。当时,波兰涌现出一批爱国的思想家和 艾艺家。他们主张文艺要有鲜明的民族特性,要有热爱人民和自 由的思想内容,要有丰富的情感色彩。这些思想对肖邦有着深远 的影响。肖邦的朋友、波兰诗人维特维茨基在给肖邦的信中写 道:“你只要经常记着,民族性,民族性,最后还是民族性……正象波兰有祖国的大自然一样,也有祖国的旋律。高山、森林、河 流、草地都有自己内在的、祖国的音响,虽然并不是每一颗心都 能听到它的声音。”他一再嘱咐肖邦,要“为了人民,通过人民!” 肖邦的老师埃尔斯纳也对肖邦说:“你是天才,为人民而写作吧, 要写得有通俗性、民族性。”这一切,给肖邦以后的思想发展带来 了深刻的影响。

1830年,法国爆发了七月革命。它不仅打击了欧洲反动“神 圣同盟”的封建统治,也对欧洲各国的革命起了推动作用。这 时,波兰的爱国力量又重新振奋起来,秘密的爱国组织也活跃起 来。他们不顾反动当局的逮捕、镇压,酝酿着新的起义。正是在 这样一种动荡不安的形势下,肖邦的亲人、老师和朋友们敦促着 肖邦出国去深造,并通过他的音乐创作和演奏去为祖国获取荣 誉。为此,肖邦处于激烈的思想斗争之中,爱国心使他想留下; 事业心又使他想离去。他写道:“我还在这里,我不能决定启程的 日子。我觉得,我离开华沙就永远不会再回到故乡了。我深信, 我要和故乡永别。啊,要死在不是出生的地方是多么可悲的事!” 离别的痛苦、永别的预感折磨着他,但是,亲友们的勉励、嘱咐 和期望又鼓舞着他,使他意识到自己有责任去国外用艺术来歌颂 祖国和自己的民族,为此他又感到激动。他写道:“我愿意唱出一 切为愤怒的、奔放的情感所激发的声音,使我的作品(至少一部 分)能作为约翰(指十七世纪的波兰围王约翰三世索比埃斯基。他曾击败了土耳其侵略者,收 复了祖国的疆土,并将土耳其人逐出维也纳和匈牙利,名震欧洲。)的部队所唱的战歌。战歌已绝响,但它们的回声仍将荡漾在多瑙河两岸。”

1830年11月2日,萧瑟的寒风增添了华沙的秋意,更增添了离 别时的痛苦。送别的友人以这样的话语叮咛着即将离去的肖邦:

“不论你在哪里逗留、流浪, 愿你永不将祖国遗忘, 绝不停止对祖国的热爱, 以一颗温暖、忠诚的心脏。”

肖邦接受了友人们赠送的一只满盛祖国泥土的银杯,它象征着祖 国将永远在异邦伴随着他。更使肖邦感动的是,当亲友送行到华 沙郊外──肖邦的出生地沃利亚时,他的老师埃尔斯纳和华沙音 乐学院的一些同学们,竟已等候在那里,并演唱了埃尔斯纳特地 为送别肖邦写的一首合唱曲:

“你的才能从我们的国土中生长, 愿它到处充分发扬,…… 通过你乐艺的音响, 通过我们的玛祖别克、克拉可维亚克(波兰民间舞曲) 显示你祖国的荣光。”

这样的送别场面,这样激动人心的词句,使肖邦百感交集, 在登上旅途时不禁失声痛哭。

肖邦离国几周以后,华沙就爆发了起义,并获得了成功。据说 肖邦听到华沙起义的消息时,心情无比激动,曾拟回国,是他的挚友梯图士苦功他不要回去。当梯图士出发回国参加起义后,肖 曾雇了一辆驿车追赶,准备和他一起回国,结果因未能赶上而返 回维也纳。这时,肖郑在给华沙的友人马图申斯基的信中写道: “为什么我不能相你们在一起,为什么我不能当一名鼓手!!!”

1830年11月的华沙起义,一度取得了辉煌的胜利,赶跑了俄国 侵略军,建立了波兰自己的政权。波兰人民的这一英雄业绩,震 撼了整个欧洲,是欧洲革命历史上光辉的一页。可是,在取得胜 利后不到一年,就由于波兰大贵族的背叛,使起义的成果被断 送。俄国侵略军又重新攻陷了华沙,华沙起义被镇压下去了。又 是在一个寒风萧瑟的日子,肖邦在去巴黎的旅途中,听到了华沙 重新陷落的消息。这时,他义愤填膺、悲痛欲绝。在写给梯图士 的信中,他表示了对侵略者的无比愤恨:“……啊,上帝啊,你是 存在的!存在而不给他们报应!你不管莫斯科佬的罪行,或者, 或者你自己就是莫斯科佬!我可怜的父亲!我高尚的父亲,可能 他在挨饿,他也没有钱给母亲买面包!妹妹也许遭受放肆的莫斯 科败类的狂暴蹂躏!帕斯凯维奇(帕斯凯维奇是攻陷华沙的俄国统帅。),这条莫墓列夫的母狗,占领 了欧洲那些头等君主国的驻节地!?莫斯科佬将成为世界的统洽 者?……啊!为什么我连一个莫斯科佬都不能杀啊!”尽管肖邦 的父亲一再劝告他不要抛弃俄国“国籍”(当时俄国统治下的波兰 居民均属“俄国籍”),可是肖邦在维也纳始终不去把他的俄国护照 延期,而甘愿放弃“俄国籍”,当一名“无国籍”的波兰流亡者。 同时,肖邦在维也纳也没有动用俄国占领华沙的反动头子康斯坦 丁大公写给俄国驻维也纳大使的介绍信,从此和俄国统治者彻底 划清了界限。以华沙起义为标志的波兰民族独立运动,好比是一所 爱国主义的大学校,造就了无数波兰的民族战士,也哺育了一批波 兰的民族艾艺家。刚离开华沙时,二十岁的肖邦还相当幼稚,可 是,华沙起义以后的.二十一岁的肖邦,已被祖国的灾难磨练得 坚强起来了。他对祖国的爱和对敌人的恨,也变得更强烈了。

1831年肖邦到达巴黎的时候,法国正处于君主立宪的“七月 王朝”时期,王朝代表的是金融资产阶级的利益,金钱统治着社 会的一切。法国的政治,经济、文化中心──巴黎,尽管在文化艺术 上有着悠久的传统,成为全欧的文化艺术中心之一,可是,正如肖 邦在巴黎时所说的:“这里有最辉煌的奢侈。有最下等的卑污,有 最伟大的慈悲、有最大的罪恶;每一个行动和言语都和花柳有 关;喊声、叫嚣、隆隆声和污秽多到不可想象的程度,使你在这 个天堂里成为茫然不知所措,也就是说谁也不过问一个人是怎样 生活的……。”为了在巴黎站稳脚跟,肖邦和上层社会的人士交 往。环境决定了他“非生活在这个圈子里不可。”1833年初,肖邦 在给多·泽瓦诺夫斯基的信中写道:“我已经进入最上层的社会, 与大使、公爵、部长交往,……因为据说高尚的趣味是从这里出 发的;假如有人在英国或奥地利大使馆听过你,你马上就有更大 的才能了;假使沃德蒙公爵夫人庇沪你,你马上就弹奏得更好。” 由此可见,肖邦在巴黎尽管假快打开了局面、获得了成功,但他 是不满意的。上层社会的奢华和虚假,无法安慰一位满怀亡国之 恨的流亡者那痛苦的心灵。1832年底,他写了一封信给巴黎的优 美艺术部长:“一个不能再忍受祖国的悲惨命运而来到巴黎已将 近一年的波兰人──这是我向阁下作自我介绍所能使用的全部头 衔──恭顺地向您请求把音乐学院大厅供他一月二十日举行音乐 会用……”。这封信清楚地表明了肖邦在巴黎的身分和他的心情。 和上层人物交往,日益使他感受到“假发所掩盖的是巨大的空虚。” 唯有和波兰侨胞在一起,他才感到亲切。他热情无私地帮助流亡的 波兰同胞,经常和他们在一起交谈、回忆,并为他们不知疲倦地 演奏。1836年,被称为“波兰的帕格尼尼”(帕格尼尼是当时意大利最杰出的小提琴家,名扬全欧。) 的小提琴家里平斯 基要来巴黎演出时,肖邦积极地为他进行筹备,唯一的要求是要 他为波兰侨民开一场音乐会。最初里平斯基表示同意,后来却又 拒绝了,因为他不久要去俄国演出,如果他在巴黎为波兰侨民演 奏,会引起俄国人的反感。这佯的“理由”激怒了肖邦,他愤然断 绝了与里平斯基的友谊。1837年,俄国驻法大使以沙皇宫庭的名 义拉拢肖邦,要他接受“俄皇陛下首席钢琴家”的职位和称号, 并表示这是由于肖邦并未参加1830年的华沙起义。肖邦断然加 以拒绝,并义正词产地答复道:“虽然我没有参加1830年的革命, 因为当时我还太年轻,但是我的心是同那些革命者在一起的。” 这坚定的回答、傲岸的蔑视,给了北方的暴君一记响亮的耳光。 从这一系列表现可以看出:肖邦没有辜负亲友和老师的期望和嘱 咐,他始终保持着一颗忠于祖国的心。

肖邦很快在巴黎成名了。他通过自己的创作、演奏和钢琴教 学,赢得了人们高度的尊重。在巴黎,“娱乐变成了放荡,这里金 子.龌龊和血腥是混在一起的”。尽管肖邦对巴黎的上层社会有 所反感,但他的活动大多局限于上层的沙龙,加上他自己也逐渐 地过上了优越的生活,这对他的思想意识也必然产生一定的影响 和局制,使他对资产阶级民主革命和社会改革缺乏应有的理解和 同情,这和他历来与不少波兰贵族及其子弟关系较密切也有联 系。1831年华沙起义失败后,流亡国外的波兰人有几千名,其中 三分之二在法国,大多是出身贵族的知识分子。这些人从政治上 说大致可以分为两派,保守派和民主派。保守派倾向于君主立宪 制,而并不热心于社会改革;民主派则主张立即解放农民,反对 专制制度。对于在巴黎的波兰民主派人士,肖邦一个也不认识。 从思想观点上看,肖邦更多地倾同于保守派。所以,对于1830年 和1848年法国爆发的资产阶级民主革命,肖邦表现得相当冷淡。 这些都不能不说是阶级局限性在肖邦身上的反映。

肖邦从此一直定居在巴黎,只偶尔去外地旅行。1835年,他 曾去德国的卡尔士巴德与父母短暂地相会过一次。同年在德累斯 顿认识了波兰贵族沃德津斯基的女儿玛丽亚,和她发生了恋爱。 次年,肖邦向她求婚,但由于肖邦不是贵族,只是“一个音乐家”, 不门当户对,而遭到玛利亚父亲的拒绝。1836年底,肖邦认识了 法国女作家乔治·桑,约一年后,他们就同居了,一直到1847年才决裂分手。肖邦经常和聚集在巴黎的各国著名的文艺家交往, 如波兰诗人密茨凯维支,法国文学家雨果、巴尔扎克,德国诗人 海涅,法国画家德拉克罗瓦,匈牙利作曲家、钢琴家李斯特,意 大利作曲家贝利尼,法国作曲家柏辽兹等。这些文艺家们尽管 各人的风格、个性往往不一致,但他们彼此的交往,使互相间在 思想和创作上有所启发,这对肖邦的精神生活是一种慰籍。可 是,肖邦后半生在巴黎度过的岁月,仍然充满难以排遣的孤寂 感。他乡作客、举目无亲的感受,始终使他悲郁不已。从三十年 代中起,肖邦经常患病,身体相当衰弱。举行公开的音乐会,尽 管可以带来金钱和荣誉,肖邦却并不喜欢。他最大的愉快还是和 波兰同胞在一起。他说:“就象不能拒绝给病人服药一样,我从不 拒绝给密茨凯维文和诺尔维德弹琴,无论他们当中哪一个人来, 我都会坐下来弹琴,有时始终连一句话也不说。我的音乐不止一 次引起他们流泪,这眼泪难道不是民族艺术家最高的十字架(意 即报酬)吗?”1841年,肖邦在致友人的信中写道:“我 们是否仍然会回祖国呢?!或者是完全疯狂了?!我并不替密茨凯维 文和索邦斯基担心──这是一些坚强的脑袋,这些脑袋再经过几 次流亡侨居的生活也不会失去理智和力量。”从这些话中间可以 看出肖邦作为一个“自愿的政治流亡者”在异国的苦楚。但是,他 宁愿蒙受这苦楚,也不情愿回波兰去当异族统治下的“顺民”。

848年,他应邀去英国和苏格兰访问演出,尽管受到热烈欢 迎,但他非常反感“英国人评价什么都用英磅,他们喜欢艺术只 是因为它是奢多品。”他在英国时这样写道:“在我心里,已经什么也不想做了,……我的心里觉得忧愁,可是我麻醉自己,……我 感得到一种沉闷的苦痛,……我早已没有体验过真正的快乐了。 我根本什么也感觉不到,我简直只象植物一祥地活着,耐性地等 待着自己的完结。”肖邦的最后几年就这样完成了他个人悲剧的终 结。可是,对于祖国,对于未来的祖国复兴,肖邦始终念念不 忘。1846年波兰爆发了克拉科夫起义,失败后,加里西亚又发生 了农民起义。这些事件曾激起肖邦的热情,他在信中欢呼道:“克 拉科夫的事情进行得极好”;“加里西亚的农民给沃伦和波多尔农 民做出了榜样;可怕的事情是不能避免的,但到最后,波兰将是 一个强盛、美好的波兰,总之,波兰。”1848年3月,波兹南公国 起义,4月即遭到普鲁士的镇压。肖邦对此也表示了极大的惋惜: “我……知道了关于波兹南公国全部可怕的消息。除了不幸,就 是不幸。我已经万念俱灰了。”对祖国命运的深切关怀,对祖国未 来的热情憧憬,体现了肖邦对祖国始终不渝的热爱。正是这热爱 使肖邦说出了他的遗愿:“我知道,帕斯凯维奇决不允许把我的遗 体运回华沙,那末,至少把我的心脏运回去吧。”1849年,肖邦逝 世后,他的遗体按他的嘱咐埋在巴黎的彼尔·拉什兹墓地,紧靠 着他最敬爱的作曲家见利尼的墓旁。那只从华沙带来的银杯中的 祖国泥土,被撒在他的墓地上。肖邦的心脏则运回到了他一心向 往的祖国,埋葬在哺育他成长的祖国大地中。

肖邦的创作

肖邦的创作和他的时代、社会背景以及个人思想、生活有着密切的联系。肖邦的创作生涯延续了三十余年(1817─1849),可 分为两大时期:(1)华沙时期(1830年前);(2)巴黎时期(1831 ─1849)。

肖邦在华沙度过的二十个年头,总的说来,是愉快、开朗的。 反映在这一时期的创作中,情绪的基调是乐观的,但思想深度却 是有限的。尽管在这一时期内,肖邦已写下了两首钢琴协奏曲、一 些练习曲以及一些玛祖卡舞曲等优秀的作品,但是,华沙时期的 作品毕竟不可能超越一个尚未经历生活风霜的考验、不满二十岁 的青年人的思想局限。清新、明快固然是肖邦华沙时期大多数作 品的基调,但从有些作品中。也可以看出过于华丽,甚至纤弱 矫饰的特点,看出受当时欧洲沙龙乐风以及波兰贵族气息影响的 痕迹。1829年,肖邦在维也纳演出后就曾写信说:“大家说这里的 贵族喜欢我。”但是,肖邦的早期创作中极其可贵的一点是:很早 已显示出波兰的民族特色。各种民间舞蹈的体裁、节奏,以及风 俗生活的意境、情致,使他的作品非常生动、感人。如d小调波 兰舞曲(Op.71 Nrl)以及a小调玛祖卡舞曲(Op.17 Nr4, 《小犹太》) 等。肖邦一生中写的第一首作品是波兰舞曲(1817), 写的最后一首作品是富有波兰民间色彩的玛祖卡舞曲(1849年)。 这象征着肖邦的一生是一个波兰民族作曲家的一生,是和波兰人 民、波兰土壤息息相连的一生。肖邦很少直接采用民歌旋律作 曲,而是按波兰民族民间音乐的性格、音调,自己去进行创造。 他的音乐既具有强烈的波兰风格,也富有个人独创的特性;既 与民间音乐有千丝万缕的联系,但又是经过精心加工和艺术提高的。

1830年至1831年华沙起义的成功、失败,不仅决定了肖邦一 生中的重大转变,促使肖邦的思想走同成熟,并且也是他创作前 期与后期的分水岭,这前后的区别显得如此巨大,甚至仿佛判若 二人。从此,肖邦的作品的思想性更高了,情感更深刻了,气势更 宏大了。他的作品从具有抒情音诗的特点演变为具有民族史诗式 的特点。在华沙起义直接影响下产生的c小调练习曲、a小调及 d小调前奏曲标志着这一骤变的发生。在巴黎陆续写成的第一谐 谑曲、第一叙事曲等宏伟的史诗性乐曲,也充分显示整个风格 的变化。

肖邦在巴黎的创作很快进入了成熟期。此后的创作可以分为 两个范畴,一个与祖国兴亡或个人对祖国的缅怀、思念、憧憬有联 系,一个则更多反映肖邦在巴黎的生活感受和情致。从乐曲的风 格来说,也可分为两类:一类是宏伟的、富有戏剧性;一类是充 满诗意的、抒情的。不少资产阶级的评论家只看到或只强调肖邦 抒情、细腻的一面,甚至把肖邦称作“沙龙作曲家”、“病室作曲 家”,这是一种歪曲。肖邦尽管身体虚弱,钢琴演奏以细腻、含 蓄著称,但他的精神境界和思想情感天地之广阔、宏大,确实只 有一位民族战士才能具有的。正是时代的激流、民族的悲剧和生 活的冲突,使肖邦的作品获得了如此巨大的气势。但这宏大并不 妨碍肖邦音乐的细腻,强烈的戏剧性和优美的抒情性,在他的作 品中是对立而统一的。例如升c小调夜曲(Op.27 Nrl)强烈的 中段和宁静的首尾段形成鲜明的对比;第二叙事曲中反复交替出 现音乐形象截然不同的两段。而这些对比完全受内容表现所决定 的,是有机整体发展,演奏的结果,而绝不是纯形式地为对比而 对比。

肖邦最后几年的创作中,虽然也还有个别作品具有昂扬的情 绪,如《幻想波兰舞曲》(0p.61),但更多的却具有一种仿佛 与世无争的情绪。这在他以往的创作中是少有的,不能不说这是 生活意志衰退、悲观情绪有所滋长的结果。从数量上说,最后几 年的作品写得很少,这和肖邦当时的体力衰弱、心情忧郁有关。

肖邦的作品几乎全是钢琴曲。尽管他的老师埃尔斯纳等曾一 再鼓励他从事民族歌剧的创作,但是肖邦很清楚自己的所长和所 短,始终局限于钢琴创作。创作范围的局限丝毫不影响尚邦作为 作曲家的伟大。他在钢琴音乐的领域内,不仅写下了大量杰出的 作品,并且对钢琴音乐、乃至整个音乐创作的历史发展作出了重大 的贡献。他的作品继承、发扬了欧洲十八、十九世纪初古典音乐的 传统,大大地丰富了欧洲十九世纪上半叶浪漫主义音乐的天地, 并对十九世纪下半叶浪漫主义音乐的继续发展、各民族乐派的兴 起,以及此后整个近现代音乐的发展(包括十九、二十世纪之交 的印象主义音乐等),有很大的启发和影响。他的充满独创性的 作品中常富有宽广如歌、感人至深的旋律,和声色彩丰富而极有 表现力,节奏生动,并常与波兰民间音乐、舞蹈有密切的联系, 在形式体裁上也是多样的,同样具有高度创造性。 本文摘自《隐藏在花丛中的大炮--波兰爱国音乐家肖邦作品介绍》

 
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