Nationalism through Music and Art in Chopin and Delacroix

Introduction

Chopin was an important composer and was also responsible for developing the piano. He wrote many distinct types of piano music. From Polonaises to complex nocturnes with a deep romantic value. Poland at the time was suffering politically and nationally because of all the wars and political problems it was experiencing, and Chopin through his music expressed his patriotism for Poland. We know that through music we can express different feelings and values. This is a natural ability that man has exploited in music. The same goes for Chopin.

 The other artist who we will see in this capstone is Ferdinand Victor Eugène Delacroix. A contemporary of Chopin, he had similar political and social backgrounds that influenced the development of his art. Meanly his love France in its revolution. Through art he was able to convey his feelings and political inclinations.

Human ideals are closely linked to the way they are presented. Therefore, the analysis of the two artists, Chopin and Delacroix, and their means of transmitting these ideals becomes a very interesting path to follow. We will be able to discover what was deep in their spirit when it came to nationalism.

 Chopin, known for his melancholic and passionate compositions, became a musical symbol of the struggle for Polish independence in the 19th century. In his music, the notes resonate as an echo of the yearnings and challenges of an oppressed nation, transforming the keyboard into a vehicle of patriotic expression. On the other hand, De LaCroix, through his symbolism-filled canvases, presented an intensely nationalist vision, especially evident in his vigorous depictions of the French Revolution.

In this capstone I will explore the value of nationalism in Chopin and Delacroix. How each of them was able to convey without words a value that is deep in the heart of every human being. The value of belonging to a homeland to a family. By analyzing specific works by each one, we will try to extract from the many values that we can find in an interpretation, the value of nationalism.

Chapter 1

Frederic Chopin

Knowing him better

Chopin was born in a Catholic family in Żelazowa Wola, Poland, in 1810. His father, Nicolas Chopin, was a Frenchman from Lorraine who had emigrated to Poland in 1787 at the age of sixteen. He married Justyna Krzyżanowska, a poor relative of the Skarbeks, one of the families for whom he worked. All of Chopin’s musical development took place through his parents. His father played the flute and the violin, and his mother played the piano. Through this, his family environment was where he formed and shaped his musical spirit.

 He had an impressive capacity for music.  It’s important to recognize that behind every genius it has a tutor who as a good “potter”, shapes his vase. “In teaching, Nicholas Chopin’s chief aim was to form his pupils into useful, patriotic citizens; nothing was farther from his mind than the desire or unconscious tendency to turn them into Frenchmen. And now approaches the time when the principal personage makes his appearance on the stage.”[i] With his acute and delicate forgetfulness and the help given by his teachers, he was able at the age of just eight years to be a famous child in Warsaw for his public and charity concerts. In one of his presentations, people asked him what he thought attracted the most attention in his audience, and he said the collar of his t-shirt. A very impressive response for a child of only eight years old. Another small demonstration that proves his prodigality is the Warsaw daily newspaper.

 The composer of this dance, who is only 8 years old, is truly a genius, from a musical point of view. He is the son of Nicolas Chopin, professor of French and literature at the Lyceum in Warsaw. Not only does he perform the most difficult sections on the piano with remarkable ease and taste, he has also composed several dances and variations that fill connoisseurs and critics with astonishment, especially considering the author’s young age. If he had been born in Germany or France, he would have already become famous in every country in the world. May this article remind the author that our country, too, is susceptible to producing its geniuses. It would often be enough to point it out to the public to make them known.[ii]

  It is important to say that his classical education was influential in his compositions.  “FREDERICK, who up to the age of fifteen was taught at home along with his father’s boarders, became in 1824 a pupil of the Warsaw Lyceum, a kind of high school, the curriculum of which comprised Latin, Greek, modern languages, mathematics, history, &c.”[iii] Chopin always lived with or near his parents until November 2, 1830, when he left Warsaw to give concerts in Western Europe. He never returned to Poland. After all his travels, we can say that he became famous and cultivated his love with his future lover George Sand, a French romantic writer. Chopin suffered from a certain type of chronic cough, which the cold French climate made worse. He lived for some time in Spain where he composed his heroic Polonaise in A flat, considered one of his most famous compositions. Frédéric Chopin passed away on October 17, 1849, at the age of 39, in Paris, France.

Poland’s context during Chopin’s lifetime and his answer

Chopin grew up in Warsaw, which was a hotbed of Polish nationalism and resistance to Russian rule. In 1830, the November Uprising broke out, an attempt by the Poles to regain their independence. Chopin left Poland for Vienna just a few weeks before the uprising began. The uprising was ultimately crushed by the Russians, and Poland was subjected to even harsher repression. Chopin never returned to Poland. “I dream of the day when Poland will be free again.”[iv]

After leaving Poland he lived for some time in Spain, but mostly lived the rest of his life in Paris, France. Franca was going through one of the moments in its history where the theme of nationalism and love for the country. This may have caused Chopin to suffer a certain type of discrimination. But the most impressive part of all this is the fact that he did not allow himself to be held back by the pressure of the environment and made his music his patriotic weapon. Not only to show the beauty of Poland as a country but also to demonstrate in a certain sense against the events that were taking place in their homeland.

Music to express feelings and ideas

According to all the experiences we have of music up to the present day, we can draw a conclusion that in a certain sense can be absolute for music. The conclusion is this: music is truly a way to manifest what human beings hold most in their hearts. We use different paths to reach this end. Language, painting, writing and music. In Chopin’s world, after seeing all the events that surrounded him, we see what his reaction was. “I will never forget Poland. She will always be in my heart.”[v]

 Music, and especially Polish music, was the door he opened to do so. The value he wanted to convey was the love for his country. All the musical elements have a transcendental power, as they can touch interior and spiritual realities. They can generate commotion, and all types of feelings and inner movements. We are touching here the deepest stages of the human soul, not necessarily spiritual, but also not merely physical and objective.

With all this said, I would like to reinforce in a special way that the same reality that we saw happen in several composers and I dare say with everyone, this same reality happens with Chopin. In his case, the value he wanted to underline was the love for his country. The question here can become a little deeper. How was the value of patriotism transmitted through Chopin’s Polonaises?

To give a right answer we cannot deny the historical background Chopin lived. But even so, this question can have a more philosophical answer, touching on metaphysical themes. But I will try to give a more humanistic and tangible answer to the hierarchy that a humanist finds himself in.

The characteristics that music presents are rhythm, melody and tempo. Naturally, all human beings have a certain sense of music. For example, every human can say that a musician has a sad or happy face or a faster or slower rhythm. All of these are universal characteristics and, of course, they are not absolute and present their subjective face. Chopin, through a certain rhythm, melody and tempo of the Polonaises, was able to touch the hearts of the Polish people and himself.

Chopin used music to express his love for his mother Poland. And here are some examples of it: Poles: Chopin wrote 16 Poles, which are Polish folk dances. These works are often full of energy and passion and evoke the patriotic spirit of Poland. Nocturnes: Chopin’s nocturnes are pieces for solo piano that are known for their beauty and melancholy. Etudes: Chopin’s etudes are pieces for solo piano that are known for their technical difficulty.

I will develop each of these musical compositions. To make it clearer how Chopin expressed his patriotism through music, I will give an example for each composition style listed above.

Polonaise in A-flat major, Op.53

The “Polonaise in A-flat major, Op. 53,” known as the “Heroic Polonaise,” by Frédéric Chopin, is a musical work that incorporates elements that echo the deep sense of patriotism that permeated the life of the Polish composer. Let’s explore some of the musical features of the “Heroic Polonaise” and how they relate to the value of patriotism that Chopin had in mind.

Rhythm and Martial Energy: The “Heroic Polonaise” is marked by an energetic and martial rhythm, typical of Polish dances. The rhythm we find in the composition is very marked, which reminds us, in a sense, of a military march or even a national anthem.

            Noble and Elegant Melody: The melody of the polonaise is noble and elegant, capturing the essence of Polish tradition. In the melody we see the composer’s technical capacity and musical talent in an outstanding way. By varying the melody, he can bring the feeling of difficulty, mainly using semitones. We can interpret this action as the problems and difficulties that his homeland was going through.

            Timing and Dramatic Expression: The tempo of the “Heroic Polonaise” is usually marked “Allegro maestoso,” indicating a fast but majestic tempo.

            Heroic and Nationalist Tone: The “Heroic Polonaise” exudes a heroic and nationalistic tone, evoking a sense of national pride. Chopin, exiled from Poland, used his music to keep the flame of patriotism alive. The piece became a musical symbol of Polish resistance, and its performance is often charged with deep emotional meaning.

In summary, the musical characteristics of Chopin’s “Heroic Polonaise”, including its rhythm, melody, tempo and expression, converge to create a work that goes beyond mere artistic expression. It encapsulates the essence of Chopin’s patriotism, becoming a sonorous anthem of the struggle and pride of the Polish people. This connection between music and patriotic values enriches the piece, transforming it into a powerful and lasting emotional expression.

Nocturne in C-sharp minor, Op.27

“Nocturne, (French: “Nocturnal”), in music, a composition inspired by, or evocative of, the night, and cultivated in the 19th century primarily as a character piece for piano.”[vi]

When choosing Chopin nocturnes, I confess that I had a bit of difficulty because it is a bit subjective to know which manifests better the qualities of a patriotic spirit. “Nocturne in C Sharp Minor, Op. 27, No. 1,” also known as “Nocturne of Fear.”  The “Nocturne in C Sharp Minor, Op. 27 has an emotive, melancholy quality that, in certain contexts, could be interpreted as a reflection of Chopin’s complex emotions regarding the political situation in his native Poland.

            Subtle and Contemplative Rhythm: The “Nocturne in C Sharp Minor” is known for its soft and contemplative rhythm, characteristics that, at first glance, may seem far from a patriotic tone. However, considering Chopin’s biography and his deep feeling of connection with Poland, this rhythm can be interpreted as an expression of reflection and introspection about the political and emotional situation of his homeland.

Melancholyie and Longing Melody: The melody of the nocturne is marked by a melancholic and, at times, longing expressiveness. This melancholy could be interpreted as an echo of Chopin’s complex emotions toward Poland, a country he loved deeply but which faced significant political challenges. The melody could represent a subtle lament or an expression of hope in the face of adversity.

Moderate and Intimate Time: The piece’s moderate tempo contributes to its intimate and introspective atmosphere. The rhythm we see in most of these compositions is a contemplative and leisurely rhythm. All of this gives a certain space for contemplation and a certain feeling of melancholy. All of this reflects the sadness for a homeland that is in pieces.

When considering the musical characteristics of the “Nocturne in C Sharp Minor,” it is important to remember that the relationship between Chopin’s music and patriotism is often subjective. His compositions, even those not directly associated with patriotic themes, reflect the deep emotional influence that his Polish heritage had on him. The “Nocturne” can be interpreted as a musical expression of the complexity of his emotions towards his homeland, offering an intimate insight into Chopin’s understanding of patriotism.

Etude in C-Minor, Op.10

“Étude, (French: “study”) in music, originally a study or technical exercise, later a complete and musically intelligible composition exploring a particular technical problem in an esthetically satisfying manner”[vii]

Within Chopin’s études, one that can be interpreted as a manifestation of the value of patriotism is the “Etude in C Minor, Op. 10, No. 12,” also known as the “Revolutionary Étude.” This study is considered one of the most famous and expressive of the set. Features that contribute to patriotic interpretation include:

Dramatism and Intensity: The “Revolutionary Étude” is marked by its dramatic and powerful intensity. The energetic character and virtuosic passages can be interpreted as a musical expression of the combative spirit, suggesting a narrative of resistance and struggle, associated with patriotic ideas.

            Powerful Chords and Marked Rhythm: The presence of powerful chords and a marked rhythm throughout the piece creates an impactful atmosphere, evoking a sense of urgency and determination. These musical elements can be related to the patriotic feeling of defending a nation’s values and independence.

Engaging and Melancholic Melody: Although it is predominantly marked by its energy, “Revolutionary Étude” also has melodic passages that are engaging and, at times, melancholic. This duality can be interpreted as a musical representation of the complex emotions associated with periods of revolution and change, concepts that often have patriotic relevance.

            Challenging Pace and Speed: The challenging, rapid and technical execution required by this study reflects not only the technical skill of the performer but can also be seen as a metaphor for the challenges faced by a people in search of freedom and autonomy.

            Although Chopin’s specific intentions in composing the “Revolutionary Étude” are not completely clear, the intensity and emotional character of the piece offer room for patriotic interpretations, especially considering the historical context in which Chopin lived. This study is often associated with turbulent political events, and the nickname “Revolutionary” suggests a connection to the ideals of change and resistance, values that can be considered patriotic.

It is “Polish music” just music? Is the Revolutionary Etude just an etude?

The categorization of music, such as “Polish music” or labeling a piece like the “Revolutionary Étude” as just an étude, goes beyond the technical classification and delves into the cultural and historical context, as well as the interpretative nature of music.

• Polish Music: When we refer to Polish music, we are talking about much more than simply music generated by Polish composers. We are referring to the cultural and historical characteristics of a nation for decades. When we talk about the term’s Polish music in the context of Chopin, we are referring to the personal experiences he had with the entire historical cultural background of his country.
• Revolutionary Étude: While technically the “Revolutionary Étude” is an étude, a musical composition designed to develop and showcase technical skills, it goes beyond this classification. We have already analyzed the etude, but here again we see how we named it revolutionary for the same reason that it brings these elements of change.

In essence, music is vital for the transmission of the ideals that human beings have deep down. In this case, the ideal we are analyzing is patriotism. As a famous Brazilian composer, Heitor Villa-Lobos, said: “You have to make the whole world sing. Music is as useful as bread and water.”

Chapter 2

Ferdinand Victor Eugène Delacroix.

Knowing him better

Ferdinand Eugene Delacroix was born April 26, 1798, Charenton–Saint-Maurice, France and died August 13, 1863, Paris. His parents were very involved in politics. His father was an ambassador. We can say that he had a very normal childhood, but always with this political background. He began studying art at age 16, with the painter Pierre-Narcisse Guérin. Here his talent as a painter began to grow. We can say that Guerin introduced this classical background into his future paintings. In 1822, Delacroix traveled to Italy, where he studied Renaissance art.

            Returning to France after his trip to Africa, he began his exhibitions at the Paris Art Hall. With all his diverse themes that could be found in paintings, he was known for using colors in a particular way. For him, the value of the particularity of beings was very strong. As he himself often said: “as much as I look for truth in the masses, I don’t find it, only in individuals.” This makes us understand why the use of colors for him was very strong. Each color had its own very particular value. This made his paintings attract much public attention and made the values he was trying to convey clear.

            Delacroix drew inspiration from many sources over his career, such as the literary works of William Shakespeare and Lord Byron, and the artistry of Michelangelo. But, throughout his life, he felt a constant need for music, saying in 1855 that “nothing can be compared with the emotion caused by music; that it expresses incomparable shades of feeling.” He also said, while working at Saint-Sulpice, that music put him in a state of “exaltation” that inspired his painting of him. It was often from music, whether the melancholiest renditions of Chopin or the “pastoral” works of Beethoven, that Delacroix was able to draw the most emotion and inspiration. At one point during his life, Delacroix befriended and made portraits of the composer Chopin; in his journal, Delacroix praised him frequently.

France’s De la Croix’s lifetime

Political events during Eugène Delacroix’s lifetime, especially the July Revolution of 1830 and the Revolutions of 1848, had a profound impact on his art, reflected in the nationalism that is evident in many of his works. The political events of early 19th century France were linked to the ideals of liberalism and nationalism. Delacroix, who had liberal leanings, found inspiration in the principles of emerging nationalism, which sought national identity and unity. “Responding to resurgent interest in nineteenth-century French paintings – which its rich connections to revolutionary politics, exoticism, romance, and nationalism – is Eugene Delacroix”[viii] 

“Liberty Leading the People”: “The Revolution of 1830 inspired his one truly popular work, Liberty Leading the People (Louvre). In the place of the febrile romanticism of his paintings of the 1820s, he now used a larger, more sober manner and colors of muted intensity. Dealing with this modern subject he achieved poetic effect without morbidity or false grandeur: even Liberty, abundantly physical, has the effect of adding a note of actuality rather than allegorical artifice to the tumult on the barricade. For once, the public and critics united in praise of the artist, and the government of Louis-Philippe awarded him the Legion of Honor.”[ix]

Portrait of French History: Many of his paintings were related to French themes and figures. He somehow tried to highlight his culture and the events that were very fresh in the mind of French culture and society, such as the French Revolution. But this is not absolute. We can see his love for the exotic, like the various paintings that show African landscapes. The Revolutions of 1848 inspired several paintings by Delacroix that depicted popular turmoil and aspirations. These works captured the nationalist fervor and ideals of freedom at play during this political upheaval period.

“This solitary genius produced stormy, romantic works like “The death of Sardanapalus” and turned more classically inspired paintings such as “Liberty leading the people”, a fact has never been fully explained”[x]

“The massacre of Chios and the death of Sardanapalus are paradigmatic of romanticism”[xi]

“Liberty Leading the People” (1830):

-“Liberty Leading the People”, is a powerful visual manifestation of the ideals and emotions that permeated the 1830 July Revolution in France. Completed in 1831, This painting captures the image of a woman guiding a group of men over a destroyed barricade. It is interesting to note that the men she is guiding are from all social classes and ages. The painting claims workers, soldiers, children, young people, old people, rich and poor. This wanted to demonstrate that freedom was for everyone. A woman represents freedom, that is, the ability to break with the standards that were the law for a long time. All this patriotic value that we see in this image is demonstrated by the artistic talent of the painter. “It seems reasonable to suppose that Eugenie shared the patriotic traditions of his family and that in his Liberty Leading the people[xii]

“The Death of Sardanapalus” (1827-1828)

“The Death of Sardanapalus” presents itself as an engaging and tragic narrative that transcends the limits of time. Completed between 1827 and 1828, the painting delves into ancient history, depicting the Assyrian king Sardanapalus in his last act of resistance in the face of imminent defeat. This painting clearly shows the painter’s talent. With the colors and facial expressions, the audience can capture the feelings of the characters in the painting. A possible interpretation, which makes us connect with the value that we are trying to address in this work, is that these possible values that he was trying to convey through this past event were linked to the feelings that the painter himself carried in his heart in relation to his homeland. France.

Conclusion

How did Chopin and Delacroix share the same ideas?

In our work we have seen how the deepest human values of the soul, such as patriotism, are easily transmitted through music and art. Here both artists share the same ideas but transmit them in different ways. We need a critical eye to analyze the value of patriotism, transmitted through art and music.

In my first chapter I briefly analyzed the context and how the composer Frederic Chopin expressed his patriotic value for his homeland. In this entire analysis, the part that most helps us understand how our composer was able to describe his feelings about his Polish homeland is the part in which I analyze the Polonaise in A-flat major. Analyzing a musical composition and trying to derive some value from it is always very subjective. But in this case the musical composition makes the value of patriotism become something universal.

In this context, it is important to talk about subjectivity in relation to works of art and music.. In this context, in the first chapter I develop how music and art were instruments to transmit the value of nationalism in each situation.

In the second chapter, the analysis was based on the same contexts regarding nationalism. But in this case, we analyze how the artist Delacroix expressed his love for his homeland through painting. It is interesting to note how in both cases external effects, mainly political-social, have a great power in the development of the arts as such.

 In this case, as I did in chapter one with Frederic Chopin, I briefly analyzed two of his paintings. The second, called The Death of Sardanapalus, brings with it the power to convey the anguish of seeing a homeland suffering.

 Both artists at this point share the same ideas. Chopin, for the Polonaise in A-flat Major, and Delacroix, for the painting The Death of Sardanapalus. Both pieces of art can transmit the value of nationalism and the love for the country in different ways. We may ask ourselves: How? The power of the two pieces of art is the power of being in a universal sense. Taking away all the social and political points that each artist experienced, the two convey feelings of anguish from a suffering homeland and the march towards a free future.

Here it is important to make a comment on subjectivity regarding the interpretation of art as an object. As it is an object that is in contact with the soul and feelings, its analysis and interpretation is subjective. But even so, I think that for this same reason the two artists, one for art and the other for music, share the same ideas. Both have the power to use art with its subjective characteristics and make it generate universal themes, making it more objective.

Although they expressed themselves through different artistic forms, Frédéric Chopin and Eugène Delacroix shared a deep connection with nationalism. Chopin used piano keys to narrate the Polish struggle for freedom, while Delacroix channeled paints and brushes to capture French national effervescence. Both artists, each in their own discipline, contributed to the assertion of their national identities, using their art as a means of expressing and strengthening the sense of belonging to their respective nations. In his works, Delacroix’s brushstrokes echo Chopin’s notes, together forming a vibrant duet of nationalism in the rich artistic tapestry of the 19th century.

[i] N. FREDERICK, Frederick Chopin: As men and Musician, John Mamoun, Charles Franks, David Widger, and the Online Distributed Proofreading Team, February 6, 2013, 25

[ii]  Daily Warsaw Newspaper, 1818

[iii] N. FREDERICK, Frederick Chopin: As men and Musician, John Mamoun, Charles Franks, David Widger, and the Online Distributed Proofreading Team, February 6, 2013, 39

[iv] Collected by HENRYK OPIENSKI, Chopin’s Letters, Dover Publications INC, New York, 1988

[v] Collected by HENRYK OPIENSKI, Chopin’s Letters, Dover Publications INC, New York, 1988

[vi] Encyclopedia Britanica’s information, https://www.britannica.com/art/nocturne

[vii] Encyclopedia Britanica’s information   https://www.britannica.com/art/etude-music

[viii] J. BARTHELEMY, Delacroix, Editions Gallimard, 1997

[ix] https://www.nga.gov/collection/artist-info.1221.html

[x] J. BARTHELEMY, Delacroix, Editions Gallimard, 1997

[xi] J. BARTHELEMY, Delacroix, Editions Gallimard, 1997, 7

[xii] T.A. FRANK, The attainment of Delacroix, John Hopkins press, Baltimore and London, 1971, 98