Austrian filmmaker Ulrich Seidl uses a tango version of the prelude for a striptease scene and during the end titles of his 2001 film Dog Days. Hutchings, A.G.B. (1968). "The Romantic Era". In Robertson, Alec; Stevens, Denis (eds.). The Pelican History of Music 3: Classical and Romantic. Harmondsworth: Penguin Books. pp.99–139. ISBN 978-0-14-020494-0. Among the visitors to Nohant were Delacroix and the mezzo-soprano Pauline Viardot, whom Chopin had advised on piano technique and composition. [99] Delacroix gives an account of staying at Nohant in a letter of 7 June 1842:

UK: / ˈ ʃ ɒ p æ̃, ˈ ʃ ɒ p æ n/, US: / ˈ ʃ oʊ p æ n, ʃ oʊ ˈ p æ n/, [1] French: [fʁedeʁik fʁɑ̃swa ʃɔpɛ̃]. In Episode 2 of the Soap Opera "Dark Shadows", Elizabeth plays Prelude, Op. 28, No. 20. on the piano. Chopin's music, his status as one of music's earliest celebrities, his indirect association with political insurrection, his high-profile love life, and his early death have made him a leading symbol of the Romantic era. His works remain popular, and he has been the subject of numerous films and biographies of varying historical fidelity. Among his many memorials is the Fryderyk Chopin Institute, which was created by the Parliament of Poland to research and promote his life and works. It hosts the International Chopin Piano Competition, a prestigious competition devoted entirely to his works.

Piano Sonata No 3. Mazurkas Nos 36-38. Nocturne No 4. Polonaise No 6. Scherzo No 3

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. On 7 December 1831, Chopin received the first major endorsement from an outstanding contemporary when Robert Schumann, reviewing the Op. 2 Variations in the Allgemeine musikalische Zeitung (his first published article on music), declared: "Hats off, gentlemen! A genius." [57] On 25 February 1832 Chopin gave a debut Paris concert in the "salons de MM Pleyel" at 9 rue Cadet, which drew universal admiration. The critic François-Joseph Fétis wrote in the Revue et gazette musicale: "Here is a young man who... taking no model, has found, if not a complete renewal of piano music,... an abundance of original ideas of a kind to be found nowhere else..." [58] After this concert, Chopin realised that his essentially intimate keyboard technique was not optimal for large concert spaces. Later that year he was introduced to the wealthy Rothschild banking family, whose patronage also opened doors for him to other private salons (social gatherings of the aristocracy and artistic and literary elite). [59] By the end of 1832 Chopin had established himself among the Parisian musical elite and had earned the respect of his peers such as Hiller, Liszt, and Berlioz. He no longer depended financially upon his father, and in the winter of 1832, he began earning a handsome income from publishing his works and teaching piano to affluent students from all over Europe. [60] This freed him from the strains of public concert-giving, which he disliked. [59] 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.

In April, during the 1848 Revolution in Paris, he left for London, where he performed at several concerts and numerous receptions in great houses. [110] This tour was suggested to him by his Scottish pupil Jane Stirling and her elder sister. Stirling also made all the logistical arrangements and provided much of the necessary funding. [114]

In October 1810, six months after Chopin's birth, the family moved to Warsaw, where his father acquired a post teaching French at the Warsaw Lyceum, then housed in the Saxon Palace. Chopin lived with his family in the Palace grounds. The father played the flute and violin; [15] the mother played the piano and gave lessons to boys in the boarding house that the Chopins kept. [16] Chopin was of slight build, and even in early childhood was prone to illnesses. [15]

Atwood, William G. (1999). The Parisian Worlds of Frédéric Chopin. New Haven and London: Yale University Press. ISBN 978-0-300-07773-5. Zank, Stephen (2005). Maurice Ravel: A Guide to Research. New York: Routledge. ISBN 978-0-8153-1618-3. At Szafarnia (in 1824–perhaps his first solo travel away from home–and in 1825), Duszniki (1826), Pomerania (1827), and Sanniki (1828). [23] Chopin himself never played more than four of the preludes at any single public performance. [5] Nor was this the practice for the 25 years after his death. The first pianist to program the complete set in a recital was probably Anna Yesipova for a concert in 1876. [8] Nowadays, the complete set of Op. 28 preludes has become repertory fare, and many concert pianists have recorded the entire set, beginning with Ferruccio Busoni in 1915, when making piano rolls for the Duo-Art label. Alfred Cortot was the next pianist to record the complete preludes in 1926.Chopin's output as a composer throughout this period declined in quantity year by year. Whereas in 1841 he had written a dozen works, only six were written in 1842 and six shorter pieces in 1843. In 1844 he wrote only the Op. 58 sonata. 1845 saw the completion of three mazurkas (Op. 59). Although these works were more refined than many of his earlier compositions, Zamoyski concludes that "his powers of concentration were failing and his inspiration was beset by anguish, both emotional and intellectual". [106] Chopin's relations with Sand were soured in 1846 by problems involving her daughter Solange and Solange's fiancé, the young fortune-hunting sculptor Auguste Clésinger. [107] The composer frequently took Solange's side in quarrels with her mother; he also faced jealousy from Sand's son Maurice. [108] Moreover, Chopin was indifferent to Sand's radical political pursuits, including her enthusiasm for the February Revolution of 1848. [109] Golos, George S. (October 1960). "Some Slavic Predecessors of Chopin". The Musical Quarterly. 46 (4): 437–447. doi: 10.1093/mq/XLVI.4.437. JSTOR 740748. Wojtkiewicz, Mariola (2013). "The Impact of Chopin's Music on the Work of 19th and 20th Century Composers". Chopin.pl (in archive). Translated by Ossowski, Jerzy. Archived from the original on 23 October 2013 . Retrieved 28 March 2021. Moran, Michael (31 January 2018). "1st International Chopin Competition on Period Instruments. 2–14 September 2018". Classical Music Festivals and Competitions in Poland and Germany – with occasional unrelated detours . Retrieved 24 June 2021.