Walker, Alan (1988). Franz Liszt: The Virtuoso Years 1811–1847. London: Faber and Faber. ISBN 978-0-571-15278-0. Bellman, Jonathan (Autumn 2000). "Chopin and His Imitators: Notated Emulations of the 'True Style' of Performance". 19th-Century Music. 24 (2): 149–160. doi: 10.2307/746839. JSTOR 746839. Two neighbouring apartments at the Valldemossa monastery, each long hosting a Chopin museum, have been claimed to be the retreat of Chopin and Sand, and to hold Chopin's Pleyel piano. In 2011 a Spanish court on Majorca, partly by ruling out a piano that had been built after Chopin's visit there–probably after his death–decided which was the correct apartment. [91] Frédéric Chopin was born in Żelazowa Wola, 46 kilometres (29 miles) west of Warsaw, in what was then the Duchy of Warsaw, a Polish state established by Napoleon. The parish baptismal record, which is dated 23 April 1810, gives his birthday as 22 February 1810, and cites his given names in the Latin form Fridericus Franciscus (in Polish, he was Fryderyk Franciszek). [6] [7] [8] The composer and his family used the birthdate 1 March, [n 4] [7] which is now generally accepted as the correct date. [8] Tosca Tango Orchestra's composition "Prelude", which is featured on their 1998 album "La Furia Del Tango", is based heavily on the Prelude No. 4.

From 1824 until 1828 Chopin spent his vacations away from Warsaw, at a number of locations. [n 6] In 1824 and 1825, at Szafarnia, he was a guest of Dominik Dziewanowski, the father of a schoolmate. Here, for the first time, he encountered Polish rural folk music. [24] His letters home from Szafarnia (to which he gave the title "The Szafarnia Courier"), written in a very modern and lively Polish, amused his family with their spoofing of the Warsaw newspapers and demonstrated the youngster's literary gift. [25] Although this period had been productive, the bad weather had such a detrimental effect on Chopin's health that Sand determined to leave the island. To avoid further customs duties, Sand sold the piano to a local French couple, the Canuts. [90] [n 14] The group travelled first to Barcelona, then to Marseilles, where they stayed for a few months while Chopin convalesced. [92] While in Marseilles, Chopin made a rare appearance at the organ during a requiem mass for the tenor Adolphe Nourrit on 24 April 1839, playing a transcription of Franz Schubert's lied Die Sterne (D. 939). [93] [94] [n 15] George Sand gives a description of Chopin's playing in a letter of 28 April 1839: Improvisation stands at the centre of Chopin's creative processes. However, this does not imply impulsive rambling: Nicholas Temperley writes that "improvisation is designed for an audience, and its starting-point is that audience's expectations, which include the current conventions of musical form". [171] The works for piano and orchestra, including the two concertos, are held by Temperley to be "merely vehicles for brilliant piano playing... formally longwinded and extremely conservative". [172] After the piano concertos (which are both early, dating from 1830), Chopin made no attempts at large-scale multi-movement forms, save for his late sonatas for piano and cello; "instead he achieved near-perfection in pieces of simple general design but subtle and complex cell-structure". [173] Rosen suggests that an important aspect of Chopin's individuality is his flexible handling of the four-bar phrase as a structural unit. [174] Eddie, William (2013). Charles Valentin Alkan: His Life and His Music. Farnham: Ashgate Publishing. ISBN 978-1-4094-9364-8.Miller, Lucasta (21 June 2003). "The composer who never grew up". The Guardian . Retrieved 18 December 2020.

Nourrit's body was being escorted via Marseilles to his funeral in Paris, following his suicide in Naples. [95]

Fantasie, Op 49. Waltzes. Polonaise No 5. Nocturnes. Scherzo No 2, Op 31

The Radiohead song " Exit Music (For a Film)", which was written for the film Romeo + Juliet, and which featured on the band's album OK Computer, is based on the Prelude No. 4. [5]

Hall-Swadley, Janita R., ed. (2011). The Collected Writings of Franz Liszt: F. Chopin. Lanham: Scarecrow Press. ISBN 978-1-4616-6409-3. The Bill Evans Trio, with Symphony Orchestra, played this prelude in 1965, with an arrangement penned by Claus Ogerman. For this album, the prelude was titled "Blue Interlude". The prelude opens with a "serene" theme in D ♭. It then changes to a "lugubrious interlude" in C ♯ minor, "with the dominant pedal never ceasing, a basso ostinato". [7] The repeating A ♭/G ♯, which has been heard throughout the first section, here becomes more insistent. Conway, David (2012). Jewry in Music: Entry to the Profession from the Enlightenment to Richard Wagner. Cambridge: Cambridge University Press. ISBN 978-1-107-01538-8.

Four Scherzos. Nocturnes Nos 5, 19, 20

Turnbull, Michael T.R.B. (1989). Monuments and Statues of Edinburgh. Edinburgh: Chambers. ISBN 978-0-550-20050-1. Kallberg, Jeffrey (Summer 2001). "Chopin's March, Chopin's Death". 19th-Century Music. 25 (1): 3–26. doi: 10.1525/ncm.2001.25.1.3. JSTOR 10.1525/ncm.2001.25.1.3. Schumann, Robert (1988). Pleasants, Henry (ed.). Schumann on Music: A Selection from the Writings. New York: Dover. ISBN 978-0-486-25748-8.

Walker, Alan (2018). Fryderyk Chopin: A Life and Times. London: Faber and Faber. ISBN 978-0-571-34855-8. Marcin Grochowina published trio-variation and improvisation with this prelude in 2015 on the CD "Chopin Visions". For this album, the prelude was titled "Prelude in c"

Mazurkas Nos 1-51

Although the two displayed great respect and admiration for each other, their friendship was uneasy and had some qualities of a love–hate relationship. Harold C. Schonberg believes that Chopin displayed a "tinge of jealousy and spite" towards Liszt's virtuosity on the piano, [74] and others have also argued that he had become enchanted with Liszt's theatricality, showmanship, and success. [75] Liszt was the dedicatee of Chopin's Op. 10 Études, and his performance of them prompted the composer to write to Hiller, "I should like to rob him of the way he plays my studies." [76] However, Chopin expressed annoyance in 1843 when Liszt performed one of his nocturnes with the addition of numerous intricate embellishments, at which Chopin remarked that he should play the music as written or not play it at all, forcing an apology. Most biographers of Chopin state that after this the two had little to do with each other, although in his letters dated as late as 1848 he still referred to him as "my friend Liszt". [74] Some commentators point to events in the two men's romantic lives which led to a rift between them; there are claims that Liszt had displayed jealousy of his mistress Marie d'Agoult's obsession with Chopin, while others believe that Chopin had become concerned about Liszt's growing relationship with George Sand. [73] George Sand Chopin at 28, from Delacroix's joint portrait of Chopin and Sand, 1838 Weber, Moritz (13 January 2022). "AKT I / ACTO I / ACT I Männer / Hombres / Men Chopins Männer / Los hombres de Chopin / Chopin's Men". Itamar. Revista de investigación musical: Territorios para el arte (in German). ISSN 2386-8260.