Charles Rosen Quotes

Only once in Chopin's music is there a direct reference to Bach, and that is, appropriately, at the beginning of his only educational work, the two sets of Etudes, Op. 10 and 25, and the three Nouvelles Etudes for Moscheles. In the first Etude, Op. 10, in C major, we find a modernized version of the Prelude no. 1 of the Well-Tempered Keyboard...

There is a paradox at the heart of Chopin's style, in its unlikely combination of a rich chromatic web of polyphony, based on a profound experience of J. S. Bach, with a sense of melody and a way of sustaining the melodic line derived directly from Italian opera. The paradox is only apparent, and it is never felt as such when one hears the music. The two influences are perfectly synthesized, and they give each other a new kind of power.

Above all, Chopin was the greatest master of counterpoint since Mozart. This will appear paradoxical only if we equate counterpoint with strict fugue, and Chopin wrote no formal fugues except as an academic exercise. His chief training, in both composition and keyboard playing, however, came from a study of Bach, and it was a study that engaged him all his life and which he always recommended to his pupils.

In almost every edition (and consequently most performances) of Chopin's Sonata in B flat Minor, Op. 35, there is a serious error that makes awkward nonsense of an important moment in the first movement. The repeat of the exposition begins in the wrong place.

The secret of avoiding monotony with the four-bar module was to vary the accent and the weight of the bars to avoid giving a similar emphatic accent on the first bar of every group, as if one were accenting a downbeat. After Beethoven and before Brahms, perhaps the greatest master of the technique was Chopin, as one can see from the opening of the Nocturne in D flat Major, Op. 27, no. 2, of 1836 ...

The relation of tonic to dominant is the foundation of Western triadic tonality. The attempt of the early nineteenth century to substitute third or mediant relationships for the classical dominant amounted to a frontal attack on the principles of tonality, and it eventually contributed to the ruin of triadic tonality. This ruin was accomplished from within the system, however, as mediant relationships were essential to tonality as conceived in the eighteenth century.

The song cycle is the most original musical form created in the first half of the nineteenth century. It most clearly embodies the Romantic conception of experience as a gradual unfolding and illumination of reality in place of the Classical insistence on an initial clarity. The form of Schubert's song cycle is not less precise than that of a Classical sonata, but its precision is only gradually comprehended as it unfolds.

The most signal triumphs of the Romantic portrayal of memory are not those which recall past happiness, but remembrances of those moments when future happiness still seemed possible, when hopes were not yet frustrated.

Beethoven is the first composer to represent the complex process of memory-not merely the sense of loss and regret that accompanies visions of the past, but the physical experience of calling up the past within the present.

Visual delight, sentiment, and exploration become one in the new appreciation of landscape and Nature.

It is above all through landscape that music joins Romantic art and literature.

It is typical of Schumann's musical thinking to construct this complex network of references outside his music-to quote Beethoven, and then to have Beethoven's distant beloved refer to Clara. But this should give a clue to the nature of Schumann's achievement. It is not Schumann's music that, refers to Clara but Beethoven's melody, the "secret tone."

The extraordinary stylistic changes of late eighteenth-century music may have provided much of the inspiration for the literature of the turn of the century, but the literary forms that resulted were deeply eccentric. It was these works—paradoxical, anticlassical, often with startlingly unbalanced proportions—which in turn influenced the music of the generation of composers that followed. The most clearly affected by literature and art were Schumann, Berlioz, and Liszt, but neither Mendelssohn nor Chopin remained untouched by literary developments, like the revival of Celtic and medieval poetry, as the overtures of Mendelssohn and the Ballades of Chopin explicitly demonstrate.

For Beethoven, music was still shape, realized and inflected by instrumental sonority: other realizations may be as absurd as arrangements of the Hammerklavier, for example, always are, but the musical conception takes precedence over its realization in sound. The sonority serves the music. For Schumann, however, as for Chopin and Liszt, the conception was worked out directly within the sonority as a sculptor works directly in clay or marble. The instrumental sound is shaped into music.

In the piano writing of the Romantic generation of the 1830s, in fact, a fully pedalled sonority becomes the norm: the piano is expected to vibrate fairly constantly, and an unpedalled sonority is an exception, almost a special effect. Furthermore, the phrase is now shaped at least partially by changes in this full vibration. The change of pedal is crucial to the conception of rhythmic movement and to the sustaining of the melodic line over the bass.