[아일랜드] John Field

John Field, c. 1820

John Field (26 July 1782 [?], baptised 5 September 1782 – 23 January 1837) was an Irish pianist,

composer, and teacher. He was born in Dublin into a musical family, and received his early education there, in particular with the immigrant Tommaso Giordani. The Fields soon moved to London, where Field studied under Muzio Clementi. Under his tutelage, Field quickly became a famous and sought-after concert pianist; together, master and pupil visited Paris, Vienna, and St. Petersburg. Ambiguity surrounds Field's decision to remain in the Russian capital, but it is likely that Field acted as a sales representative for the Clementi Pianos.

피아노를 위한 야상곡은 쇼팽의 모델이 되었다. 아버지로부터 최초의 음악교육을 받았으며, 그후 런던에서 무치오 클레멘티에게서 배웠다. 나중에는 클레멘티의 교습에 대한 대가로 그의 피아노 시범 연주자 겸 세일즈맨으로 일했고, 빠른 음악적 진보를 보였다.

1802년 클레멘티는 필드를 파리로 데려갔으며, 이어 독일과 러시아로 갔다. 그는 피아니스트와 작곡가로서의 명성을 재빨리 구축해갔다. 1803년 러시아에 정착해서는 한동안 인기 있고 세련된 피아노 교사로 활동했다. 다음 30년 동안 전유럽에 걸쳐서 폭넓은 연주활동을 펼쳤으며, 1832년 런던 필하모닉 소사이어티 콘서트에서 자신의 작품 E장조 피아노 협주곡 가운데 하나를 연주해 커다란 성공을 거두었다. 그는 페달을 사용해 음을 지속시키는 기법을 발전시킨 최초의 인물 가운데 한 사람으로 자신의 작품이나 연주에서 페달을 사용했다.

그는 순수하게 피아노 명연주자로 활약했던 최초의 인물 가운데 한 사람이었으며, 그의 양식과 기교는 놀랍게도 쇼팽을 예견하는 것이었다. 작곡가로서는 소품에서 최고의 능력을 발휘했으며, 풍부한 표정을 가진 선율과 상상력을 지닌 화성을 보여준다. 때때로 등장하는 반음계는 긴 발전부의 후렴에는 등장하지 않는다. 피아노 협주곡 7곡, 피아노 소나타 4곡을 썼으며, 이 곡들은 때로 높은 질적 수준을 보이지만 작품마다 일관된 것은 아니다.

그의 야상곡은 =다른 대작들보다 압축적이고 친숙할 뿐만 아니라 양식면에서 뛰어나며 다양한 분위기를 보여준다.<다음백과>

 

Field was very highly regarded by his contemporaries and his playing and compositions influenced many major composers, including Frédéric Chopin, Johannes Brahms, Robert Schumann, and Franz Liszt. Field is best known as the instigator of the nocturne, but there is evidence to suggest that this is a posthumous accolade. Although little is known of Field in Russia, he undoubtedly contributed substantially to concerts and teaching, and to the development of the Russian piano school.^[1]

Notable students include Prussian pianist and composer Charles Mayer. See: List of music students by teacher: D to F#John Field.

 

<우리말 해설 자료 있는 곳>

1.blog.daum.net/scam416/12410638   은파

 

2. cafe.daum.net/daum1000/LvFx/5138   좋은글과 좋은음악이 있는곳

 

Biography

1782–1801: Early life

A plaque commemorating John Field in Golden Lane, Dublin.

 

Field was born in Golden Lane, Dublin in 1782,^[2] the eldest son of Irish parents who were members of the Church of Ireland. His father, Robert Field, earned his living by playing the violin in Dublin theatres. Field first studied the piano under his grandfather (also named John Field), who was a professional organist, and later under Tommaso Giordani.^[3] He made his debut at the age of nine, a performance that was well-received, on 24 March 1792 in Dublin.^[4]

 

 According to an early biographer, W.H. Grattan Flood, Field started composing in Ireland, but no evidence exists to support his claim. Flood also asserted that Field's family moved to Bath, Somerset, in 1793 and lived there for a short time, and this too is considered unlikely by modern researchers. By late 1793, though, the Fields had settled in London, where the young pianist started studying with Muzio Clementi. This arrangement was made possible by Field's father, who was perhaps able to secure the apprenticeship through Giordani, who knew Clementi.

 

Field continued giving public performances and soon became famous in London, attracting favourable comments from the press and the local musicians. Around 1795 his performance of a Dussek piano concerto was praised by Haydn. Field continued his studies with Clementi, also helping the Italian with the making and selling of instruments. He also took up violin playing, which he studied under J.P. Solomon. His first published compositions were issued by Clementi in 1795; the first historically important work, the Piano Concerto No. 1, H 27, was premiered by the composer in London on 7 February 1799. Field's first official opus was a set of three piano sonatas published by (and dedicated to) Clementi in 1801.^[4]

1802–1829: Settling in Russia

In summer 1802 Field and Clementi left London and went to Paris on business. They soon travelled to Vienna, where Field took a brief course in counterpoint under Johann Georg Albrechtsberger, and in early winter arrived in Saint Petersburg. Field was inclined to stay, impressed by the artistic life of the city. Clementi left in June 1803, but not before securing Field a teaching post in Narva and "appointing" the young man as his deputy, so that Field would receive similarly high fees. After Clementi's departure, Field had a busy concert season, eventually performing at the newly founded Saint Petersburg Philharmonic Society.

 

In 1805 Field embarked on a concert tour of the Baltic states, staying in Saint Petersburg during the summer. The following year he gave his first concert in Moscow. Clementi arranged the publication of some

of Field's old works in Russia in late 1806; he evidently sold Field a piano in exchange for music. Field returned to Moscow in April 1807 and apparently did not revisit Saint Petersburg until 1811 (but he kept his apartment at Vasilievsky Island). In 1810 he married Adelaide Percheron, a French pianist and former pupil.^[4]

 

Up to 1808 almost all publications of Field's music were reissues of old works. In 1808–9 he finally began publishing newly composed music, starting with piano variations on Russian folksongs: Air russe varié for piano 4 hands, H 10, and Kamarinskaya for piano, H 22.

 

In 1811 the composer returned to Saint Petersburg. He spent the next decade of his life here, more productive than ever before, publishing numerous new pieces and producing corrected editions of old ones. He was successful in establishing a fruitful collaboration with both H.J. Dalmas, the most prominent Russian publisher of the time, and Breitkopf & Härtel, one of the most important music publishing houses of Europe.

 

In 1815 Field fathered an illegitimate son, Leon Charpentier (later Leon Leonov), but remained with his wife. They had a son, Adrien, in 1819; Leon would later become a famous tenor, active in Russia, while Adrien followed his father's steps and became a pianist. By 1819 Field was sufficiently wealthy to be able to refuse the position of court pianist that was offered to him. His lifestyle and social behaviour were becoming more and more extravagant.^[4]

 

In 1818 Field revisited Moscow on business, prompted by his collaboration with the publisher Wenzel. He and his wife gave a series of concerts in the city in 1821, the last of which marked their last appearance in public together. Adelaide left Field soon afterward (taking Adrien with her) and attempted a solo career, which was not particularly successful. Field stayed in Moscow and continued performing and publishing his music. In 1822 he met Johann Nepomuk Hummel; the two collaborated on a performance of Hummel's Sonata for Piano 4-Hands, Op. 92.^[4]

1830–1837: Last years and death

Partly as a result of his extravagant lifestyle, Field's health began deteriorating by the mid-1820s. From about 1823 his concert appearances started decreasing; by the late 1820s he was suffering from rectal cancer. Field left for London to seek medical attention. He arrived in September 1831 and, after an operation, gave concerts there and in Manchester. He stayed in England for some time, meeting distinguished figures such as Mendelssohn and Moscheles.

 

In March 1832 his former teacher and friend Clementi died, and Field acted as pallbearer at his funeral.^[5] on Christmas Day 1832 Field was in Paris, performing his seventh piano concerto, which received a mixed reaction, just as at his recent concerts in England. After a series of concerts in various European cities, Field spent nine months (1834–5) in a Naples hospital. His Russian patrons rescued him. He briefly stayed with Carl Czerny in Vienna, where he gave three recitals, and then returned to Moscow with his son Adrien.^[4]

 

He gave his last concert in March 1836 and died in Moscow almost a year later, on 23 January 1837, from pneumonia. He was buried in the Vvedenskoye Cemetery. According to an eyewitness report, when asked on his deathbed what his religion was, Field replied with a characteristic pun: "I am not a Calvinist, but a Claveciniste (French for harpsichordist)."^[6]

Music

Field became best known for his post-London style, probably developed in Moscow around 1807. The characteristic texture is that of a chromatically decorated melody over sonorous left hand parts supported by sensitive pedalling. Field also had an affinity for ostinato patterns and pedal points, rather unusual for the prevailing styles of the day. Entirely representative of these traits are Field's eighteen nocturnes and associated pieces such as Andante inedit, H 64. These works were some of the most influential music of the early Romantic period: they do not adhere to a strict formal scheme (such as the sonata form), and they create a mood without text or programme.^[4] These pieces were admired by Frédéric Chopin, who subsequently made the piano nocturne famous, and Franz Liszt, who published an edition of the nocturnes based on rare Russian sources that incorporated late revisions by Field. Liszt's preface to the said edition was an extensive eulogy for Field and his nocturnes.^[7]

 

Similarly influential were Field's early piano concertos, which occupy a central place in the development of the genre in the 19th century. Already the earliest of these works show competent and imaginative orchestration, and bold, original piano writing. one interesting trait of his piano concertos

is their limited choice of keys: they all use either E-flat major or C major at some point (or both, in the last concerto's case). Composers such as Hummel, Kalkbrenner and Moscheles were influenced by these works, which are particularly notable for their central movements, frequently nocturne-like. Some of the less known works were also historically important: particularly the piano fantasies, in which Field pioneered the Romantic large scale episodic structure.^[4]

List of works

This list is arranged according to Hopkinson numbers, introduced in the 1961 catalogue by Cecil Hopkinson. Many of these works were arranged for other instruments and (or) revised by the composer himself; such arrangements and revised versions are not listed.

Number	Opus	Form	Title	Key	Notes	Refs	Year
H 1	–	Variation	on "Fal Lal La" for piano	A major	?	?
H 2	–	Rondo	"Favorite Hornpipe" for piano	A major	?	?
H 3	–	Rondo	"Go the devil" for piano	C major	?	?
H 4	–	Variation	on "Since then I'm doom'd" for piano	C major	?	?
H 5	–	Rondo	"Slave, bear the sparkling goblet" for piano	–	[n 1]	?
H 6	–	Rondo	"The two slaves dances" for piano	G major	?	?
H 7	–	Variation	on "Logie of Buchan" for piano	C major	?	?
H 8	Op. 1	Sonata	Piano Sonata No. 1	E flat major	?	?
			Piano Sonata No. 2	A major
			Piano Sonata No. 3	C minor
H 9	–	Concertante	"Pleyel's" for piano, violin & cello	F major	?	?
H 10	–	Variation	"Air russe" for piano 4 hands	A minor	?	?
H 11	–	–	Andante for piano 4 hands	C minor	?	?
H 12	–	–	"Danse des ours" for piano 4 hands	E flat major	?	?
H 13	–	Nocturne	for piano (12)	E major	?	?
H 14	–	Divertissement	No. 2 for piano	A major	?	?
H 14	–	Nocturne	for piano (7)	A major	?	?
H 15	Op. 3	Fantasia	on "Guardami un poco" for piano	A major	?	?
H 16	–	Marche triomphale	for piano	E flat major	?	?
H 17	–	Sonata	for piano	B flat major	?	?
H 18	–	Rondeau	for piano	A flat major	?	?
		Waltz
H 19	–	Grande valse	for piano 4 hands	A major	?	?
H 20	–	Variation	on "Vive Henry IV" for piano	A minor	?	?
H 21	–	Polonaise	for piano	E flat major	?	?
H 22	–	Variation	on "Kamarinskaya" for piano	B flat major	?	?
H 23	–	Rondo	"Speed the Plough" for piano	B major	?	?
H 24	–	Nocturne	No. 1 for piano	E flat major	?	?	1812
H 25	–	Nocturne	No. 2 for piano	C minor	?	?
H 26	–	Nocturne	No. 3 for piano	A flat major	?	?
H 27	–	Piano Concerto	No. 1	E flat major	[n 2]	?
		Rondo	from Piano Concerto No. 1
		Variation	on "Within a mile" for piano	B flat major
H 28	–	Piano Concerto	No. 4	E flat major	[n 3]	?
		Rondo	from Piano Concerto No. 4
H 29	–	Rondo	from Piano Concerto No. 3	E flat major	?	?
H 30	–	Nocturne	No. 9 (8) for piano	E flat major	?	?
H 31	–	Piano Concerto	No. 2	A flat	?	?
		Poco adagio	from Piano Concerto No. 2	E flat major
		Rondo	from Piano Concerto No. 2	A flat major
H 32	–	Piano Concerto	No. 3	E flat major	[n 4]	?
H 33	–	Étude	"Exercice modulé sur tous les tons majeurs et mineurs" for piano	–	?	?
H 34	–	Piano quintet	–	A flat major	?	?
H 35	–	Fantasia	on "Ah! quel dommage" for piano	G major	?	?
H 36	–	Nocturne	No. 4 for piano	A major	?	?
H 37	–	Nocturne	No. 5 for piano	B flat major	?	?
H 38	–	Rondo	for piano	A major	?	?
H 39	–	Piano Concerto	No. 5 "L'incendie par l'orage"	C major	[n 5]	?
		Rondo	from Piano Concerto No. 5
H 40	–	Nocturne	No. 6 for piano	F major	?	?
H 41	–	Variation	on a Russian folksong for piano	D minor	?	?
H 42	–	6 Dances	for piano	–	?	?
H 43	–	Rondo	for piano 4 hands	G major	?	?
H 44	–	Étude	"Exercice nouveau" No. 1 for piano	C major	?	?
H 45	–	Nocturne	No. 7 (13) for piano	C major	?	?
H 46	–	Nocturne	No. 8 (9) for piano	E minor	?	?
H 47	–	–	"The Maid of Valdarno"	–	[n 6]	?
H 48	–	–	"Exercice nouveau" No. 2 for piano	C major	?	?
H 49	–	Piano Concerto	No. 6	C major	[n 7]	?
H 49	–	Rondo	No. 6 from Piano Concerto	C major	?	?
H 50	–	–	2 Songs	–	?	?
H 51	–	Waltz	"Sehnsuchts-Walzer" for piano	E major	?	?
H 52	–	Rondoletto	for piano	E flat major	?	?
H 53	–	Rondo	"Come again, come again" for piano	E major	?	?
H 54	–	Nocturne	No. 10 for piano	E major	?	?
H 55	–	Nocturne	"Le troubadour" for piano	C major	?	?
H 56	–	Nocturne	No. 11 for piano	E flat major	?	?
H 57	–	Fantasia	on "We met" for piano	G major	?	?
H 58	–	Nocturne	No. 12 (14) for piano	G major	[n 8]	?
		Piano Concerto	No. 7	C minor
H 59	–	Nocturne	No. 13 (15) for piano	D minor	?	?
H 60	–	Nocturne	No. 14 (16) for piano	C major	?	?
H 61	–	Nocturne	No. 15 (17) for piano	C major	?	?
H 62	–	Nocturne	No. 16 (18) for piano	F major	?	?
H 63	–	Nocturne	– for piano	B flat major	?	?
H 64	–	Andante inedit	for piano	E flat major	?	?
H 65	–	Pastorale	for piano	–	[n 9]	?
H 66	–	Nocturne	"Dernière pensée" for piano	–	[n 10]	?
H 67	–	–	"88 passages doigtés" for piano	–	[n 11]	?
H deest	–	Étude	"Exercice" for piano	A flat major	?	?
H deest	–	Fantasia	on "Dans le jardin" for piano	A minor	?	?
H deest	–	Largo	for piano	C minor	?	?
H deest	–	Prelude	for piano	C minor	?	?

See also

• Nocturnes (Field)