Frederic Chopin
Chopin was born in the village of Żelazowa Wola, in the Duchy of Warsaw, to a French-expatriate father and Polish mother, and in his early life was regarded as a child-prodigy pianist. In November 1830, at the age of twenty, he went abroad; following the suppression of the Polish November Uprising of 1830–1831, he became one of many expatriates of the Polish "Great Emigration." In Paris, Chopin made a comfortable living as a composer and piano teacher, while giving few public performances. Though an ardent Polish patriot, in France he used the French versions of his names and eventually, to avoid having to rely on Imperial Russian documents, became a French citizen. After some ill-fated romantic involvements with Polish women, from 1837 to 1847 he had a turbulent relationship with the French writer George Sand. Always in frail health, he died in Paris in 1849, at the age of thirty-nine, of chronic pulmonary tuberculosis.
Chopin's extant compositions were written primarily for the piano as a solo instrument. Though they are technically demanding, his style emphasises nuance and expressive depth. Chopin invented musical forms such as the balladeand was responsible for major innovations in forms such as the piano sonata, mazurka, waltz, nocturne, étude, impromptu and prélude. His works are masterpieces and mainstays of Romanticism in 19th-century classical music.

HISTORY
In October 1810, when the infant was seven months old, the family moved to Warsaw, where his father took a position as French-language teacher at a school in the Saxon Palace. The Chopin family lived on the palace grounds. In 1817, Mikołaj Chopin began work, still teaching French, at the Warsaw Lyceum, housed in Warsaw University's Kazimierz Palace. The family lived in a spacious second-floor apartment in an adjacent building. The son himself would attend the Warsaw Lyceum from 1823 to 1826. Despite Mikołaj Chopin's occupation, Polish spirit, culture, and language pervaded the Chopins' home and, as a result, the son would never, even in Paris, perfectly master the French language. Louis Enault, a biographer, borrowed George Sand's phrase to describe Chopin as being "more Polish than Poland". All the family had artistic leanings. Chopin's father played the flute and violin; Chopin's mother played the piano, and gave lessons to boys in the elite boarding house that the Chopins operated. Thus the boy early became conversant with music in its various forms.
That same year, seven-year old Chopin composed two Polonaises, in G minor and B-flat major. The first was published in the engraving workshop of Father Izydor Józef Cybulski (composer, engraver, director of an organists' school, and one of the few music publishers in Poland); the second survives as a manuscript prepared by Mikołaj Chopin. These small works were said to rival not only the popular polonaises of leading Warsaw composers, but the famous Polonaises of Michał Kleofas Ogiński. A substantial development of melodic and harmonic invention and of piano technique was shown in Chopin's next known Polonaise, in A-flat major, which the young artist offered in 1821 as a name-day gift to Żywny.
MUSICAL OUTPUT
Frédéric Chopin composed his Piano Sonata No. 3 in B minor, Op. 58 in 1844 and dedicated it to Countess Emilie de Perthuis. His last sonata for piano solo, it has been suggested that this was his attempt to address the criticisms of his earlier sonata Op. 35. The sonata consists of four movements, similar in structure to the second sonata, with a lyrical largo replacing the funeral march.
Allegro maestoso
Scherzo: Molto vivace
Largo
Finale: Presto non tanto; Agitato
The work opens on a martial note, the heavy chords and filigree in the opening of the first movement giving way to a more melodic second theme, eventually leading to the conclusion of the exposition in the relative major, D. Motives of the original theme emerge in the development, which, unconventionally, returns to the second theme (as opposed to the first) for the recapitulation. The movement concludes in B major. The scherzo, in the distant key of E flat and in strict ternary form, characterised by ebullient quaver runs in the right hand, with a more demure chordal middle section. It uses a theme from the composer's First Ballade, Unlike the scherzo of the B-flat minor sonata, it is exceptionally short, barely lasting two minutes in an average performance.
Despite a stormy introduction in dotted rhythm, the largo is serene, almost nocturne-like; a mellow and expansive middle section, again characterised by quaver figuration in the background of an intensely harmonic line, separates the more cantabile outer sections in B major. It is the most musically profound of the movements , in terms of a sustained melody and innovative harmonic progression; it rivals the extensive first movement in length alone. Its dramatic introduction–a rising harmonic progression left hanging on a high dominant seventh–aside, the finale, in B minor, is pervaded by a "galloping" rhythm; emphasis in the melodic line on the first and third beats of each half-measure outlines the fifth through eighth degrees of a harmonic minor scale (lending prominence to the augmented second between the sixth and seventh scale degrees). The overall melody, chromatic yet rooted in the minor tonic, contributes a dark mood to these primary sections.