Some of the Etudes in the first set, opus 10, were written by the time Chopin was twenty. It is with these pieces that Chopin's style was fully revealed in all its power and subtlety. Later works are sometimes more ambitious and, in a few cases, more audacious, but there were no radical changes of style, nothing to compare to the later revolutions we find in the careers of Haydn and Beethoven, or even in the shorter lives of Mozart and Schubert. Chopin's mastery was proven with the twelve Etudes of opus 10.
Charles RosenRelated topics
chopin compare few find later lives nothing power prove set subtlety twelve twenty write works Haydn Beethoven Mozart SchubertRelated quotes
Of the various executive abilities, no one excited more anxious concern than that of placing the interests of our fellow-citizens in the hands of honest men, with understanding sufficient for their stations. No duty is at the same time more difficult to fulfil. The knowledge of character possessed by a single individual is of necessity limited. To seek out the best through the whole Union, we must resort to the information which from the best of men, acting disinterestedly and with the purest motives, is sometimes incorrect.
Thomas Jefferson
When one admits that nothing is certain one must, I think, also admit that some things are much more nearly certain than others. It is much more nearly certain that we are assembled here tonight than it is that this or that political party is in the right. Certainly there are degrees of certainty, and one should be very careful to emphasize that fact, because otherwise one is landed in an utter skepticism, and complete skepticism would, of course, be totally barren and completely useless.
Bertrand Russell
A man becomes spiritual insofar as he lives a spiritual life. He begins to see God in all things, to see His power and might in every manifestation. Always and everywhere he sees himself abiding in God and dependent on God for all things. But insofar as a man lives a bodily life, so much he does he do bodily things; He doesn't see God in anything, even in the the most wondrous manifestations of His Divine power. In all things he sees body, material, everywhere and always - "God is not before his eyes." (Ps. 35:2)
John of Kronstadt
God always was, and always is, and always will be. Or rather, God always Is. For Was and Will be are fragments of our time, and of changeable nature, but He is Eternal Being. And this is the Name that He gives to Himself when giving the Oracle to Moses in the Mount. For in Himself He sums up and contains all Being, having neither beginning in the past nor end in the future; like some great Sea of Being, limitless and unbounded, transcending all conception of time and nature, only adumbrated [intimated] by the mind, and that very dimly and scantily.
Gregory of Nazianzus
Mendelssohn was the greatest child prodigy the history of Western music has ever known. Not even Mozart or Chopin before the age of nineteen could equal the mastery that Mendelssohn already possessed when he was only sixteen. Most astonishing is the nature of Mendelssohn's precocious talent: not only a gift for lyrical melodic lines and delicate, transparent textures, but, above all, a control of large-scale structure unsurpassed by any composer of his generation.
Charles Rosen