Yet in a relatively short creative life of twenty years or so, Chopin redrew the boundaries of Romantic music, and his self-imposed restriction to the 88 keys of the piano keyboard sublimated nothing less than the aesthetic essence of piano music. It was his total identification with the instrument which, in its radical regeneration of the lyric and the dramatic, fantasy and passion and their unique fusion, shaped a tonal language which united an aristocratic sense of style and formal Classical training and intuition with an ascetic rigor. Chopin's precisely marshaled trains of thought permitted no experiments, and so he did not ‘wander about' within his stylistic points of reference as Scriabin was to do. Chopin's works may seem light and improvisatory, but they are planned in meticulous details, exactly and well calculated.
Burkard SchliessmannRelated topics
aesthetic ascetic chopin classical creative essence fantasy formal fusion identification instrument intuition keyboard language less life light lyric music nothing passion permit piano plan radical reference regeneration restriction rigor romantic sense short style thought total training twenty unique wander well yet works years scriabin tonal details pointsRelated quotes
It terrifies one to think for how short a time science has been methodical and of useful industry; and after all, is there anything on earth more marvelously easy than destruction? Who knows the new mediums it has laid in store? Who knows the limit of cruelty to which the art of poisoning may go? Who knows if they will not subject and impress epidemic disease as they do the living armies - or that it will not emerge, meticulous, invincible, from the armies of the dead? Who knows by what dread means they will sink in oblivion this war, which only struck to the ground twenty thousand men a day, which has invented guns of only seventy-five miles' range, bombs of only one ton's weight, aeroplanes of only a hundred and fifty miles an hour, tanks, and submarines which cross the Atlantic? Their costs have not yet reached in any country the sum total of private fortunes.
Henri Barbusse
Along with the steady diet sitar, sarod, and tabla, several new instruments and players came to my attention. The first of these was Ustad Bismillah Khan, master of the sonorous double-reed instrument known as shehnai. This beautiful wind instrument, with finger holes and a bell-shaped opening at the bottom, sounded to me like a hybrid of soprano saxophone and oboe, and Bismillah Khan's tone very much influenced what Coltrane and Terry Riley would do with the soprano sax. Primarily used at weddings, the shehnai had been rejected as a classical instrument until Bismillah Khan elevated it to a higher status among listeners. His unique fingertips and sublime breath control produced the necessary range of sounds for raga making shehnai one of the more popular instruments in North India.
Bismillah Khan
To approach Chopin, you have to separate him completely from Schumann. Schumann admired Chopin very much and saw him as friend, but - what only few people know - Chopin himself had much less interest in and esteem for Schumann. In detail: Schumann's works follow on from a transitional period determined by the successors of Viennese Classicism, particularly Beethoven. Just as the sons of Bach espoused the ‘galant,' ornamented style of their generation, so the pupils of Mozart and Beethoven - Hummel, Ries, Czerny, Moscheles - took pains to compensate for a thinner musical substance with increased instrumental brilliance and thus prepared the ground for the golden age of the piano and the era of the Romantic virtuoso. Among the multitude of composers writing for the piano at that time, only two - Weber and Schubert - stand out as original creative forces.
Burkard Schliessmann
Undoubtedly the best language for the expression of this ‘unfathomable' quality was music. The infinity of musical spheres of expression, independent of rationality, is often perceived as ‘unfathomable' by listeners too. The formal principles of order seem to lie hidden deeper in this art than in others. In the twentieth century the great creative minds, when faced with Romantic artistic urges running riot which they believe must be overcome, or feel they have succeeded in overcoming, have stressed the importance of existing rules; they have followed traditional forms, or else, in their search for new ways to connect, have found and set up new formula-tions and principles. The young Schumann's creative path led in the opposite direction, from classical forms, however deeply revered, to the freedom of subjective self-expression.
Burkard Schliessmann
The particular conception of ideology operates primarily with a psychology of interests, while the total conception uses a more formal functional analysis, without any reference to motivations, confining itself to an objective description of the structural differences in minds operating in different social settings. The former assumes that this or that interest is the cause of a given lie or deception. The latter presupposes simply that there is a correspondence between a given social situation and a given perspective, point of view, or apperception mass. In this case, while an analysis of constellations of interests may often be necessary it is not to establish causal connections but to characterize the total situation. Thus interest psychology tends to be displaced by an analysis of the correspondence between the situation to be known and the forms of knowledge.
Karl Mannheim
