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CHOPIN: CONTEXTUAL INFORMATION

Annabell Louise Hutchings 10 questions

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  1. 1FREDERIC FRANCOIS C[blank_start]HOPIN[blank_end] (1810-1849) WAS UNIQUE IN THAT HE WROTE ALMOST EXCLUSIVELY FOR THE P[blank_start]IANO[blank_end], BUT HE IS RECOGNISED AS ONE OF THE GREAT C[blank_start]OMPOSERS[blank_end] OF THE RO[blank_start]MANTIC[blank_end] PERIOD. HE WROTE O[blank_start]RCHESTRAL[blank_end] PARTS FOR HIS T[blank_start]WO[blank_end] PIANO C[blank_start]ONCERTOS[blank_end] AND A FEW OTHER O[blank_start]RCHESTRAL[blank_end]
    1. AHOPIN
    2. BIANO
    3. COMPOSERS
    4. DMANTIC
    5. ERCHESTRAL
    6. FWO
    7. GONCERTOS
    8. HRCHESTRAL
  2. 2HE WAS BORN IN P[blank_start]OLAND[blank_end] AND HAD STRONG PATIROTIC FEELINGS FOR HIS HOMELAND, ALTHOUGH HE LIVED MOST OF HIS LIFE IN F[blank_start]RANCE[blank_end]. HE FELT A POWERFUL LOYALTY FOR P[blank_start]OLAND[blank_end], STRENGHTENED BY THE R[blank_start]USSIAN[blank_end] OPPRESSION OF TEH TIME. WHEN HE HEARD OF TEH REVOLUTION IN P[blank_start]OLAN[blank_end]D AND THE RUSSIAN CAPTURE OF WARS[blank_start]AW[blank_end], HE WROTE HIS REVOLUTIONARY E[blank_start]TUDE[blank_end], A POWERFUL AND PASSIONATE WORK WITH A DRAMATIC L[blank_start]EFT[blank_end]-HAND PART. WHEN HE LEFT P[blank_start]OLAND[blank_end] HE WAS GIVEN A SMALL CASKET OF POLISH S[blank_start]OIL[blank_end], WHICH HE KEPT ALL HIS L[blank_start]IFE[blank_end] AND WHICH WAS SPRINKLED ON HIS G[blank_start]RAV[blank_end]E WHEN HE DIED. LIKE G[blank_start]RIEG[blank_end], HE IS CONSIDERED A NATIONALISTIC C[blank_start]OMPOSER[blank_end] AND THE TRADITIONAL MELODIES AND RH[blank_start]YTHMS[blank_end] INFLUENCED HIS WRITING
    1. AOLAND
    2. BRANCE
    3. COLAND
    4. DUSSIAN
    5. EOLAN
    6. FAW
    7. GTUDE
    8. HEFT
    9. IOLAND
    10. JOIL
    11. KIFE
    12. LRAV
    13. MRIEG
    14. NOMPOSER
    15. OYTHMS
  3. 3HE HAD P[blank_start]IANO[blank_end] LESSONS FROM A VERY YOUNG AGE AND WAS PERFORMING IN P[blank_start]UBLIC[blank_end] FROM THE AGE OF S[blank_start]EVEN[blank_end]. HE WAS CONSIDRED A CHILD PRODIGY AND RECEIVED INVITATIONS TO PERFORM FOR R[blank_start]OYALTY[blank_end] AND ARISTOCRATIC F[blank_start]AMILIES[blank_end]. HIS FATHER TOOK HIM INTO P[blank_start]OLISH[blank_end] VILLAGES, WHERE HE HEARD TRADITIONAL MAZURKAS, POLONAISES AND KRAKOVIAKS
    1. AIANO
    2. BUBLIC
    3. CEVEN
    4. DOYALTY
    5. EAMILIES
    6. FOLISH
  4. 4HE WAS NEVERY PHYSICALLY S[blank_start]TRONG[blank_end] AND SEVERE BRONCHITIS DEVELOPED INTO TU[blank_start]BERCULOSIS[blank_end], WHICH LED TO HIS EARLY D[blank_start]EATH[blank_end] AT THE AGE OF [blank_start]39[blank_end]
    1. ATRONG
    2. BBERCULOSIS
    3. C39
    4. DEATH
  5. 5HIS PIANO MUSIC INVOLVES MOSTLY SMALL-TO-MEDIUM LENGTH WORKS IN THE FOLLOWING STYLE AND GENRES:
    PIANO C[blank_start]ONCERTOS[blank_end] (2)
    PIANO S[blank_start]ONATAS[blank_end] 3
    SCHERZOS 4
    R[blank_start]ONDOS[blank_end] 3
    B[blank_start]ALLADE[blank_end]S 4
    PO[blank_start]LONAISE[blank_end]S 11
    MA[blank_start]ZURKAS[blank_end] 58
    W[blank_start]ALTZES[blank_end] 14
    E[blank_start]TUDES[blank_end] 24
    PRE[blank_start]LUDES[blank_end] 25
    NOC[blank_start]TURNES[blank_end] 19
    ALTHOUGH MANY OF THESE ARE D[blank_start]ANCE[blank_end] FORMS, THEY WERE NEVER INTENDED TO BE USED FOR D[blank_start]ANCING[blank_end] - INSTEAD THEY ARE CO[blank_start]NCERT[blank_end] WORKS REFLECTING THE CHARACTERISTICS OF THOSE D[blank_start]ANCES[blank_end]
    1. AONCERTOS
    2. BONATAS
    3. CONDOS
    4. DALLADE
    5. ELONAISE
    6. FZURKAS
    7. GALTZES
    8. HTUDES
    9. ILUDES
    10. JTURNES
    11. KANCE
    12. LANCING
    13. MNCERT
    14. NANCES
  6. 6CHOPIN WAS A SUPERB CREATOR OF L[blank_start]YRICAL[blank_end] MELODY AND HIS PERSONAL STYLE IS VERY DISTINCTIVE AND RECOGNISABLE. HIS H[blank_start]ARMONIE[blank_end]S WERE CONSIDERED HARSH BY SOME OF HIS CONTEMPORARIES, ALTHOUGH NOT SO TO US AFTER OUR EXP[blank_start]OSURE[blank_end] TO TWENTIETH-CENTURY DIS[blank_start]SONANCE[blank_end]. HE USES MANY CH[blank_start]ROMATIC[blank_end] NOTES, ESPECIALLY IN RUNS AND FAST -MOVING PASSAGES, TO ADD COLOUR AND INTEREST. HIS STRENGTH LIES IN HIS COMPLETE ORIGI[blank_start]NALITY[blank_end]
    1. AYRICAL
    2. BARMONIE
    3. COSURE
    4. DSONANCE
    5. EROMATIC
    6. FNALITY
  7. 7CHOPIN'S BALLADES:

    HE WROTE F[blank_start]OUR[blank_end] BALLADES AND NO 2 WAS WRITTEN BETWEEN 1836-39. ALL THE B[blank_start]ALLADES[blank_end] DEMAND A HIGH LEVEL OF TEC[blank_start]HNIQUE[blank_end] AND INTERPRETATION FROM THE PERFORMER. CHOPIN TOLD SCHUMANN THAT THE POE[blank_start]TRY[blank_end] OF ADAM MICKIEWICZ WAS THE INSPIRATION FOR HIS B[blank_start]ALLADES[blank_end]. NO. 2 IS SAID TO BE INSPIRED BY LE LAC DE W[blank_start]ILLIS[blank_end].
    1. AOUR
    2. BALLADES
    3. CHNIQUE
    4. DTRY
    5. EALLADES
    6. FILLIS
  8. 8CHOPIN'S BALLADES:

    THE PIANIST ANTON RUBENSTEIN INTERPRETED THE DIFFERENT SECTIONS OF BALLADE NO.2 LIKE THIS: 'A FL[blank_start]OWE[blank_end]R, A WINDS[blank_start]TORM[blank_end], THE WIND CARESSING THE FL[blank_start]OWER[blank_end], STORMY FIGHT OF THE WI[blank_start]ND[blank_end], PLEADING OF THE FLOWER - THE FLOWER LIES BR[blank_start]OKEN[blank_end]'. THIS BALLADE WAS DEDICATED TO S[blank_start]CHUMANN[blank_end], WHO IN RETURN DEDICATED HIS KREISLERIANA, OP.16 TO CHOPIN
    1. AOWE
    2. BTORM
    3. COWER
    4. DND
    5. EOKEN
    6. FCHUMANN
  9. 9CHOPIN'S BALLADES:

    CHOPIN WAS A PIONEER OF THE B[blank_start]ALLADE[blank_end] AS A NEW MUSICAL FORM, AND HE IN TURN INFL[blank_start]UENCED[blank_end] COMPOSERS SUCH AS LISZT AND BRAHMS WHO ALSO WROTE BALLADES. BALLADE NO.2 HAS BEEN PER[blank_start]FORMED[blank_end] AND RECORDED MANY TIMES AND IT FEATURED IN THE RUSKIE BUSINESS EP[blank_start]ISODE[blank_end] OF THE US TELEVISION SERIES, VERONICA MA[blank_start]RS[blank_end]
    1. AALLADE
    2. BUENCED
    3. CFORMED
    4. DISODE
    5. ERS
  10. 10CHOPINS NOCTURNES:

    CHOPIN WROTE 19 NOCTURNES IN TOTAL. IT IS THOUGHT THAT THE SET WORK WE'RE STUDYING WAS HIS FIRST NOCTURNE, WRITTEN AT THE AGE OF [blank_start]17[blank_end] IN 1627, ALTHOUGH IT IS CATEGORISED OPUS 72 AND WAS ONLY P[blank_start]UBLISHE[blank_end]D AFTER HIS DEATH IN 1855. AT THE TIME HE WAS STUDYING T[blank_start]HEORY[blank_end] AND COMPOSITION WITH JOZEF ELSNER. THIS WAS ALSO THE YEAR THAT CHOPIN'S YOUNGER SISTER, EMILIA, D[blank_start]IED[blank_end] AND SOME HAVE ATTRIBUTED THE SAD M[blank_start]OOD[blank_end] OF THIS NOTURNE TO HIS SORROW. CHOPIN'S COMPOSING STYLE WITH HIS MASTERY IN L[blank_start]YRICAL[blank_end] MELODIES IS PERFECTLY SUITED TO THE DREAMY, PEACEFUL MOOD OF A NO[blank_start]CTURNE[blank_end]. HIS MELODY WRITING IS VERY PIANISTIC - ALTHOUGH THE MELODIES ARE SO BEAUTIFUL, THEY ARE NOT ESSENTIALLY 'SINGABLE' BY THE H[blank_start]UMAN[blank_end] VOICE. THEY ARE NOT EVEN AS EFFECTIVE WHEN PLAYED ON OTHER I[blank_start]NSTRUMENTS[blank_end], BUT ARE SHOWN TO THEIR BEST EFFECT ON THE P[blank_start]IANO[blank_end], WITH ITS PERCUSSIVE NATURE AND USE OF DAMPER P[blank_start]EDAL[blank_end]. HE OFTEN USES WIDE-RANGING B[blank_start]ROKEN[blank_end] CHORDS IN HIS ACCOMPANIMENTS, PROVIDING A R[blank_start]ICH[blank_end] HARMONIC SUPPORT.
    1. A17
    2. BUBLISHE
    3. CHEORY
    4. DOOD
    5. EIED
    6. FYRICAL
    7. GCTURNE
    8. HUMAN
    9. INSTRUMENTS
    10. JIANO
    11. KEDAL
    12. LROKEN
    13. MICH

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Description
A level Music (CHOPIN - BALLADE NO 2) Quiz on CHOPIN: CONTEXTUAL INFORMATION, created by Annabell Louise Hutchings on 02/11/2016.
Language
English
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musicchopin - ballade no 2a level
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