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The extraordinary stylistic changes of late eighteenth-century music may have provided much of the inspiration for the literature of the turn of the … - Charles Rosen
" "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.
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About Charles Rosen
Charles Welles Rosen (May 5, 1927 – December 9, 2012) was an American pianist and writer on music.
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Rosen, Charles
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Charles Welles Rosen
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Additional quotes by Charles Rosen
The world of Debussy is a seductive oasis, and it is hard to leave it after spending many days immersed in its atmosphere. Playing Debussy-or any other composer with a strong and idiosyncratic personality-affects not only one's cast of mind but the physical disposition as well, the way the muscles work and the fingers come into contact with the ivories.
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.
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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.
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