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Dissertation UMI Information Service University Microfilms International A Bell & Howell Information Company 300 N. Z eeb Road, Ann Arbor, Michigan 48106
8618730
Ai, Chia-Huei
CHOPIN’S CONCERTO IN E MINOR, OP. 11: AN ANALYSIS FOR PERFORMANCE
The Ohio State University D.M.A. 1986
University Microfiims Internetionsi3 0 0N,[email protected]*o.,Ml48106
Copyright 1986 by A,i, Chia-Huei Aii Rights Reserved
CHOPIN S CONCERTO IN E MINOR, OP. 11:
AN ANALYSIS FOR PERFORMANCE
D.M.A. Document
Presented in Partial Fulfillment of the Requirements for
the Degree Doctor of Musical Arts in the Graduate
School of The Ohio State University
By
Chia-Huei Ai, B.A., M.A.
*****
The Ohio State University
1986
Document Committee: Approved by
Richard Tetley-Kardos, Adviser
Jerry Lowder, D.M.E., Co-Adviser
Rosemary Platt, D.M. lard Tetley4Cafdm, Adviser School of Music Copyright by Chia-Huei Ai 1986 ACKNOWLEDGEMENTS
I would like to express my special gratitude to Dr. Jerry E. I-owder for giving generously of his time, valuable assistance, helpful advice and invaluable encourage ment in the preparation of this document.
Deep gratitude is also expressed to Professor Richard Tetley-Kardos for his inspi ration, outstanding insights in piano teaching, and for guid^ce and support during the preparation of the writer's four doctoral recitals and her doctoral studies.
I am grateful to my present piano teacher. Dr. Rosemary Platt, for her encour agement and many contributions to my piano playing.
I also wish to thank Dr. Ann K. Blombach, whose classes have contributed inva luable knowledge and ideas for the preparation for this document. To Dr. Alexander
Main is extended my thanks for his music history classes which emphasized the importance of musicological insights for all performers.
Very deep thanks are expressed to my husband, Tzong-Kai, for his fortitude in typing all drafts of this paper while maintaining the roles of student, father and husband.
Finally, I would like to thank my parents for their endless love, support, and encouragement.
- u VITA
August 7, 1955 Born: Chia-yi, Taiwan
June, 1977 B.A. in Piano Performance, Tunghai University. Taichung, Taiwan
May, 1979 M.A. in Piano Performance, Eastern Illinois University, Charleston, Illinois
1979 - 1982 Full-Time Piano Faculty, Department of Music, Tunghai University, Taichung, Taiwan
Summer, 1982 Graduate Study in Piano, Eastman School of Music, Rochester, New York
1982 - 1986 Doctoral study in piano. The Ohio State University, Columbus, Ohio
1983 - 1986 Teaching Associate in private piano and accompaning. The Ohio State University, Columbus, Ohio
- u i - FIELDS OF STUDY
Major Field: Piano Performance
Studies in Piano Performance Prof. Richard Tetley-Kardos, Dr. Rosemary Platt
Studies in Piano Literature Dr. Rosemary Platt
Studies in Piano Pedagogy Dr. Jerry E. Lowder
Studies in Music Theory Dr. Ann K. Blombach
Studies in Music History Dr. Alexander Main
RECITAL DATES
July 18, 1983 Solo Recital
March 7, 1984 Chamber recital
October 30, 1984 Concerto
April 10, 1985 Solo recital
- IV - TABLE OF CONTENTS
Page
ACKNOWLEDGEMENTS ...... ü
VITA ...... iii
LIST OF TABLES...... vi
U ST OF HGURES ...... vu
CHAPTER
I. INTRODUCTION ...... 1
PURPOSE ...... 2
n . BACKGROUND OF THE CONCERTO ...... 4
ffl. ANALYSIS...... 10
FIRST MOVEMENT: ALLEGRO MAESTOSO...... 14 Exposition ...... 16 Development...... 24 Tutti Recapitulation ...... 26 Solo Recapitulation ...... 27 Solo C o d a ...... 27 Tutti C o d a ...... 28 SECOND MOVEMENT: ROMANCE; LARGHETTO...... 28 Exposition ...... 29 Recapitulation ...... 33 C o d a ...... 35 THIRD MOVEMENT: RONDO: VIVACE...... 36 FUNCnON OF DYNAMIC MARKINGS ...... 44
- V - MEMORY...... 47 First Movement...... 48 Second M ovement ...... ' 52 Third Movement ...... 62
IV. CONCLUSION...... 67
BIBUOGRAPHY ...... 68 BOOKS...... 68 PERIODICALS AND JOURNALS...... 71 UNPUBLISHED W O RK S...... 72 MUSIC SCORE...... 72 DISCOGRAPHY ...... 73
- VI - LIST OF TABLES
TABLE PAGE
1. Comparison of Chopin's Orchestration ...... 12
2. Form of First Movement...... 15
3. Form of Second Movement ...... 29
4. Form of Third M ovem ent ...... 37
5. Rests before the Second Subject ...... 63
- vu LIST OF FIGURES
FIGURE PAGE
1. Piano Introduction, 1st Movement ...... 16
2. 1st Theme, 1st Movement ...... 17
3. 1st Theme and Its Variation, 1st Movement ...... 18
4. Transition 3, 1st Movement ...... 19
5. Measures 211-213, 1st M ovement...... 19
6. 2nd Theme, 1st Movement ...... 20
7. Melodic Ornamention of Measure 87, 1st M ovement ...... 21
8. Transition 4, 1st M ovem ent ...... 21
9. Measures 291-295, 1st M ovement ...... 22
10. Measures 322-328, 1st M ovement ...... 23
11. Measures 408-409, 1st M ovement ...... 24
12. Measures 478-480, 1st M ovement ...... 26
13. Solo Coda, 1st Movement ...... 27
14. Theme I, 2nd M ovem ent ...... 30
15. Theme H, 2nd Movement ...... 31
16. Measures 39-41, 2nd M ovement ...... 31
17. Closing Theme, 2nd M ovem ent ...... 32
18. Measures 50-51, 2nd M ovement ...... 32
19. Transition 3, 2nd Movement ...... 33
20. Transition 4, 2nd Movement ...... 34
- viii - 21. Transition 5, 2nd Movement ...... 35
22. Theme I, 3rd Movement ...... 38
23. Measures 48-51, 3rd M ovem ent ...... 39
24. Measures 64-67, 3rd M ovem ent ...... 40
25. Measures 128-129, 3rd Movement ...... 41
26. Measures 136-138, 3rd Movement ...... 41
27. Theme H, 3rd Movement ...... 42
28. Coda, 3rd Movement ...... 42
29. Chopin Etude in E Minor, op. 25, no. 5 ...... 43
30. Measures 480-482, 3rd Movement ...... 43
31. Chopin Etude op. 25 no. 4 ...... 44
32. Theme I, 3rd Movement ...... 46
33. Theme H, 3rd M ovement ...... 46
34. a and b. Measures 201-204 & 556-558, 1st Movement ...... 48
35. a and b. Measures 245-254 & 596-604, 1st Movement ...... 50
36. a and b. Measures 297-299 & 313-315, 1st Movement ...... 51
37. a and b. Measures 13-16 & 54-57, 2nd Movement ...... 53
38. a and b. Measures 17-18 & 58-59, 2nd Movement ...... 54
39. a and b. Measures 19-22 & 60-63, 2nd Movement ...... 55
40. a and b. Measures 31-34 & 80-83, 2nd Movement ...... 56
41. a and b. Measures 35-36 & 84-85, 2nd Movement ...... 57
42. a and b. Measures 39 & 88, 2nd Movement ...... 58
43. a and b, Measures 41-42 & 90-91, 2nd Movement ...... 59
44. a and b. Measures 45 & 94, 2nd Movement ...... 60
45. a and b. Measures 47 & 96, 2nd Movement ...... 61
46. a and b. Measures 49 & 98, 2nd Movement ...... 62
- ix - CHAPTER I
INTRODUCTION
In a letter written to his Polish friend, Titus Woyciechowski, Chopin commented on his recently-completed piano concerto in E minor:
My second concerto is finished and and 1 feel like a novice, just as I felt before 1 knew anything of the keyboard. It is far too original and I shall end up by not being able to learn it myself—
The Rondo is effective and the first-movement Allegro is impres- sivejl]
After reading Chopin's biography during the Summer of 1983, I was inspired to leam the concerto. This work offers good opportunities for the solo player. Soloists usually find in this concerto uncommonly rewarding assignments with broad opportu nities for displaying not only virtuosity but a capacity for the kind of nuances of touch so often demanded by Chopin{2]
Analysis and careful study of a compwition are required of the musician in order to interpret accurately the work, and this writer felt compelled to preparethe concerto in this manner. Moreover, Kelley states that
-.one can never be too careful in analyzing Chopin's compositions, for even in his episodes and passage-work many a measure, apparently non-essential, proves on inspection to be constructed with surprising ingenuity. Pianists should bear this in mind; for, by bringing out the inner voices, which deserve as careful enunciation as those in a Bach fugue, they will disclose new beauties otherwise overlooked^]]
- 1 - PURPOSE
The Piano Concerto in E Minor, Opus 11, has received' limited serious critical attention. Dammeier-Kirpal offers thematic and tonal analyses of the Concerto's first movementj4] Hill offers a very brief formal analysis of the three movements{5]
Slenczynska connects the rhythms in the first and the third movements with Polish dance rhythms and offers performance liints for these two movementsXô] Abraham, in his study of all six of Chopin's piano concertos, examines the employment of instru- mentsj]7] Kelley offers a very brief harmonic analysis of three movements in his book, Chopin The Composerl%]
Due to this limited amount of published material dealing with the analysis of the E Minor Concerto, this writer will provide her own performance-related analysis in this document. ENDNOTES
[1] George R. Marek and Maria Gordon-Smith, Chopin (New york: Harper & Row,
Publishers, 1978), p. 39.
[2] Chopin Piano Concerto in E Minor, op. 11, Stefan Ashkenase and Residentie
Orkest Den Haag, Conducted by Willem van Otterloo, Deutsche Grammaphon
138085, Germany.
[3] Edgar Stillman Kelley, Chopin the Composer: His Structural Art and Its Influ
ence on Contemporaneous Music (New York; Cooper Square Publishers, Inc., 1969),
pp. 42-43.
[4] Ursula Dammeier-Kirpal, Der Sonatensatz bei Frederic Chopin (Wiesbaden: Breit-
kopf & Hartel, 1973), p. 57.
[5] Ralph Hill, The Concerto (Baltimore: Penguin Books, 1952), pp. 166-169.
[6] Ruth Slenczynska, "On Chopin's Unexpected Invitations to Dance,” Piano Quarter
ly 106 (Summer 1979), pp. 24-25.
[7] Gerald Abraham, Slavonic and Romantic Music (New York: St. Martin's Press,
1968), p. 26.
[8] Edgar Stillman Kelley, Chopin the Composer: His Structural Art and Its Influ
ence on Contemporaneous Music (New York: (hooper Square Publishers, Inc., 1969),
pp. 29-30, p. 36, pp. 41-42, pp. 50-52, pp. 55-56, p. 86, p. 108, p. 164, pp.
170-171. CHAPTER n
BACKGROUND OF THE CONCERTO
In the Romantic period, the creation of ’’grand” compositions for piano and orchestra was almost an obligatory task for the pianist-composcr. These compositions were considered important demonstrations, and they were useful to the virtuoso because they gave him a chance to appear at orchestral concerts with a large-scale work, attracting larger audiences than did solo recitals. ’’Grand” was the key wordXl]
Chopin wrote six compositions for piano and orchestra{2]
Variation, op.2 Concerto in E Minor, op.ll Grand Fantasia on Polish Airs, op. 13 Krakowiak Grand Rondo of Concert, op.l4 Concerto in F Minor, op.21 Polonaise, op.22
These are his early works, written before he came to Paris, at a period when it was necessary to his future success that he establish himself through public concerts.
These works were composed out of necessity by a young man struggling to make his way in the musical worldJS] Both op.13 and op.l4 are now less played.
Chopin's Plano Concerto in E Minor, op.ll, was created under these circumstan ces. It is a three-movement work requiring about 40 minutes for performance:
- 4 Allegro maestoso Romance: Larghetto Rondo: Vivace
Chopin worked on this concerto for about seven months. The Allegro movement caused him some difficulty, and he revised it several time&l4] He was very pleased with the Adagio movement, according to a letter written in Warsaw in May, 1830, to his friend Titus Woyciechowski at Poturzyn:
...The Adagio of my new concerto is in E Major. It is not meant to create a powerful effect, it is rather a Romance, calm and melancholy, giving the impression of someone looking gently towards a spot which calls to mind a thousand happy memories. It is a kind of reverie in the moonlight on a beautiful spring evening. Hence the accompaniment is muted. J5 ]
The concerto, dedicated to Kalkbrenner, then reigning in first place within Paris' musical circles.j6] was published in July 1833 in Paris by Schlesinger and two months later in Leipzig by Probst-KistnerX?] This E Minor Concerto we now know as
No.1 and the F Minor Concerto became known as No.2. Although the F Minor work was composed before the one in E Minor, it was not published until 1836, due to
Chopin's loss of the orchestral parts somewhere between Warsaw and Paris{8]
In 1830, in order to try out this new concerto before its premiere, Chopin brought together the conductor Kurpinski, the violinist Bielavski, Chopin's teacher,
Eisner, his parents, some close friends, and among them Matuszynski and Ernemann.
The audition provided encouraging results. Soliva declared, "You should be proud of the Rondo.” Kurpinski praised its originality and Eisner liked the rhythm. Every thing pointed to the success of the concert. 6
On the day of the premiere, October 11, 1830, the National Theater in Warsaw was sold out with an attendance of approximately 900 persons. The program included the following works{9]
Symphony - Gorner Allegro from the Concerto in E Minor - Chopin Aria with Chorus - Soliva Adagio and Rondo from the Concerto - Chopin Overture from William Tell - Rossini Cavatina from La Donna del Lago - Rossini Grand Fantasy on Polish Airs - Chopin
The concerto was an overwhelming success. On October 12, 1830 Chopin wrote to Titus:
My concert yesterday was a great success.... I wasn't a bit nervous. I played as I do when I am alone and I know that I was quite goodllO]
This proved to be his final concert in Warsaw, as Chopin left Warsaw on
November 1, 1830 for Vienna and never retumedj[ll] On August 28, 1831, he gave a successful concert in the Philharmonic Society Hall of Munich where the Concerto in E Minor was favorably received. It was the first success he had enjoyed since he left Warsaw^l2] Chopin played the E Minor Concerto first in Paris on February 26,
1832, and he was the hero of the evening^l3] On April 4, 1835 he again performed the Concerto and played a duet with Liszt. The public response was lukewarm.
After one more public concert in Paris, he made no attempt to seek further engage ments as a pianistJ!l4]
The reason Chopin wrote this concerto in a minor key may be explained by
Schumann who wrote, ’Tour-fifths of the newest concertos which we are in the 7 habit of reviewing for our readers are in minor.”[l5] This trend appeared to be part of the melancholic tradition of the Romantic concerto. As Liszt expressed it, it was
"grief, that terrible reality which Art must strive to reconcile with Heaven."[l6]
In 1838, the Concerto elicited a flattering article by Legouve in the Gazette
Musicale:
... The enchanting melodies, the indescribable finesse of style, the mel ancholy and passionate inspiration, the poetry of his playing and of his works, which speak to the heart as well as to the imagination, dazzled and deeply moved 500 persons, as they always have the eight or nine privileged ones who usually hear him in ecstasy for hours on end...{l7]
In Liszt's words, the Concerto showed "more effort than inspiration."[l8] Bernard
Gavoty was not entirely complimentary in his description of the work:
...where he is weak is in the treatment of the orchestra. For him, orchestration is symphonic transcription of a piano duet... but thor oughly accomplished in the train of development, the choice of themes, and in handling of modulation, most of which are exquisitell9]
Hans Engel wrote:
The elegiac character of the 1st theme of the Concerto in E Minor resembles the prototype of Viotti, Kalkbrenner, Dussek, Steibelt, Field, Hummel and Ries; the melancholy sweetness of the 1st movement and the Nocturne-like poetry of the Romance are supremely originaU20]
Attempts at re-orchestration of both concertos made by Karl Tausig and Karl
Klindberg (German pianists and editors) have proved abortive and are now forgot- tenj2l] ENDNOTES
[1] Michael Francis Burdick, ”A Structural Analysis of Melodic Scale-Degree Tenden
cies in Selected Themes of Haydn, Mozart, Schubert, and Chopin,” (Ph.D. Disserta
tion, Indiana University, 1977), p. 23.
[2] Standley Sadie, editor. The New Grove Dictionary o f Music and Musicians,
6th ed., S .V . ’Tryderyk Chopin,” by Arthur Hedley, J. E. Brown, Necholas Tem-
perley, and Kornel MichaLowski. (London: Macmillan Publishers Ltd., 1980), p.
308.
[3] Abraham Veinus, The Concerto (Garden City, New York: Doubleday, Doran and
Company, Inc., 1944), p. 217.
[4] Casimir Wierzynski, Program Notes, Chopin Concerto No.l in E Minor, Artur
Rubinstein and Los Angeles Philharmonic Orchestra, conducted by Alfred Wallen
stein (RCA Victor 1810, U.S.A.).
[5] Arthur Dedley, ed.. Selected Correspondence o f Frederic Chopin, trans. Arthur
Hedley (London: Heinemann, 1962), pp. 44-45.
[6] Bernard Gavoty, Frederic Chopin, trans. Louis Doyle (New York: Charles Scrib
ner's Sons, 1977), p.l39.
[7] Casimir Wierzynski, op. cit.
[8] George Marek and Maria Gordon-Smith, Chopin (New York: Harper & Row, Pub
lishers, 1978), p. 23.
[9] Ibid., pp. 84-85.
[10] Alfred Cortot, In Search o f Chopin (New York: Abelard Press, 1952), p. 100.
[11] James Huneker, Chopin: the Man and His Music (New York: Charles Scrib
ner's Sons, 1901), p. 25. 9
[12] Ates Orga, Chopin: His Life and Times (Sussex: Planet Hause Press Ltd.,
1976), p. 51.
[13] James Huneker, op. cit., p. 39.
[14] Ates Orga, op. cit., p. 76.
[15] Abraham Veinus, op. cit., p. 216.
[16] Ibid.
[17] Bernard Gavoty, op. cit., p. 202.
[18] Abraham Veinus, op. cit., p. 215.
[19] Bernard Gavoty, op. dt., p. 383.
[20] Stanley Sadie, editor. The New Grove Dictionary o f Music and Musicians,
6th ed. S .V . "Concerto, 19th Century,” by Hans Engel. (London: Macmillan
Publishers Ltd., 1980), p. 636.
[21] Adam Harasowski, "An Overview of Chopin's Piano Music," Piano Quarterly
113 (Spring 1981): p. 24. CHAPTER m
ANALYSIS
Careful analysis and meticulous preparation are necessary for successful music
performances: Although analysis is a very helpful tool in understanding a composi
tion, it cannot possibly transcend the performance and the music itself.
The role of analysis is defined by Walker: "The role of analysis is to explain
what, on an intuitive level, we already know to be true. It rationalises musical
experience. It succeeds the 'leap in the dark.' It helps one to understand one's musical
understanding.’tl] He stresses the importance of the performer when he states that
"musical analysis becomes a dead letter once the performance is forgotten. It is the
player who makes music live; the more he knows about the way it hangs together,
the more successful he will be in this task."[2]
The score used for this analysis is the Polish edition, edited by Paderewski,
which is the only complete edition of Chopin's works, consisting of twenty volumes of scores with a further six volumes of instrumental partsJ3]
It is generally agreed among music scholars that Chopin had neither a feeling for
the poetry of the orchestra nor command of the technique of orchestration. Berlioz
wrote that "in Chopin's composition all the interest is concentrated in the piano part;
the orchestra of his concertos is nothing, but a cold and almost useless accompani-
ment."[4]
- 10 - 11
Indeed, Chopin confined the function of the orchestra to that of a secondary role and offered the pianist a maximum opportunity for displaying his virtuosity.
The E Minor Concerto is Chopin's most heavily scored work, as may be seen from the comparison of the number of instruments used in six related works shown in Table 1. 12
Table 1
Comparison o f Chopin's Orchestration
Title Opus 1 1 Horns Trumpets Bass- Timpani 11 trombone
Variations 2 11 2 -- 2
E Minor 11 11 4 4 1 3 Concerto
Fantasia 13 11 2 2 - 2
Krakowiak 14 11 2 2 - 2
F Minor 21 11 2 2 1 2 Concerto
Polonaise 22 11 2 - 1 2
His employment of other instruments - flutes, oboes, clarinets and bassoons - is in pairsJS]
Chopin's reason for using a single bass trombone in op.ll, 21 and 22 was prob ably a consequence of local conditions. Most orchestras in the early 19th century used three trombones, while some orchestras used only one, in which case the single trombone was probably a bass trombone.
There is evidence suggesting that Warsaw was one of the cities which had only one "resident" bass trombonist. Eisner scored his 1818 opera, Krol Lokletek, for one bass trombone; and in 1848 Glinka arranged for Warsaw performances his Night ins
Madrid and Kamarinskaya for a single trombone{6] 13
The single bass trombone was used by Chopin to strengthen the bass line at cer tain points, making the part uninteresting. In the first movement of the E Minor
Concerto the most important thematic line lies in the bass, where the trombone rein forces the thematic line of the concerto at some passages, such as measures 45-49,
99-103, 112-116 and 671-67517]
The winds are the most poetic parts in Chopin's orchestra, especially in the sec ond movement, where the bassoon plays a melody which forms a duet with the piano. The strings are the basis of Chopin's orchestra, providing a canvas on which a solo woodwind or the piano traces a delicate melodic design{8]
The following section of this paper will contain a formal analysis of each movement of the concerto. The outer tonal scheme of the three movements is e minor, E major and E major. The inner tonal scheme will be discussed for each movement. 14
FIRST MOVEMENT: ALLEGRO MAESTOSO
The first movement is in sonata allegro form. The key relationship between the first theme and the second theme does not follow the Viennese Classical models. The first theme in both Exposition and Recapitulation sections is in e minor, but the sec ond theme is in E major (rather than in G major) in the Exposition and is in G major (rather than E major or e minor) in the Recapitulation.
The overall inner tonal scheme is mostly on the tonic E, with a shift to the keys of C and G, resulting in a lack of key - contrast[9]
The overall form of the first movement is depicted in Table 2^10] 15
Table 2
Form o f First Movemeixt
Section Label Measures Keys
Tutti Exposition Introduction 1-24 e Theme I 25 e Transition 1 33 e—a—b—E Theme II 61 E Transition 2 91 E—C—e
Solo Exposition Introduction 139 e Theme I 155 e Transition 3 179 e Theme II 222 E Transition 4 275 to dim 7th
Tutti Ritornello 333 modulation
Solo Development 385 C—a—C—e
Tutti Recapitulation Introduction 486 e
Solo Recapitulation Theme I 510 e Transition 3 534 e—G—D—G Theme II 573 G-e
Solo Coda 621 e
Tutti Coda 670-689 C-e 16
Exposition
Chopin employed the same first themes and the second theme in both the Tutti
Exposition and Solo Exposition. After 138 measures of the orchestral tutti, the piano introduction enters with very brilliant chords and arpeggios, using the same melody as that of the orchestra (Figure 1, measure 139).
-g*. J T J '- r F ? ^
1# l-f-:::.
Figure 1: Piano Introduction, 1st Movement.
The e minor first theme enters at measure 155 as an expressive melody accompanied by repeated chords (Figure 2, measure 155). 17
V pttprtix
I
Figure 2: 1st Theme, 1st Movement.
This theme consists of an eight-measure phrase with an authentic cadence,
V7 - i. The dynamic wedge " is identical with the shape of the melody.
Chopin often exquisitely varies his melody with ornamental figurational l] The first theme in the solo exposition and the tutti exposition is a good example, where variety may be found by comparing Figures 2 and 3; 18
ttQêtutim
VL I —
Figure 3: 1st Theme and Its Variation, 1st Movement.
One of the performance problems in the exposition is obtaining balance between hands for projection of the first theme. Slenczynska offers the following solution for this problem:
A good way to set a working tempo for the first theme is to use a Polonaise pattern: j j j j j j j j in the left hand alone. Simply substitute two sixteenths for the second eighth and emphasize all the low bass notes as if they were a second melody. Use strong fingers to weight chords and be aware of all the lush harmonic changes and inner voic es. When you have this "Polonaise" sounding natural so that vou can walk to its rhythm, return to the written six eighths:and add the R.Hm The whole beautiful E minor theme will assume a heartier, more dance-like lilt based on a strong workable rhythmic fundation{l2]
Transition 3 (Figure 4, measure 179) consists of arpeggios, chromatic scales, and chromatic sequences. It remains in e minor and uses the V7 (measure 221) as a common chord to the second theme in E major. 19
tnnquilh 2»
t i l ^ Ll _
Figure 4: Transition 3, 1st Movement.
The figuration, consisting of broken arpeggios with wide spanning (Figure 5, measure 211-214), is a favorite form of pianistic expression with Chopin{l3]
u a Piano
Figure 5: Measures 211-213, 1st Movement.
The second theme structure (Figure 6) consists of a 16-measure contrasting period with a lyrical melody supported by broken chord accompaniment. The harmonic structure of this theme uses conventional cadences on dominant and tonic with a col orful major III chord at measure 229. 20
pdolee
, con ispressiont i
m
Figure 6: 2nd Theme, 1st Movement.
The dynamic marking here again is subordinated to the melodic shape of the second theme. The melody at measure 232 is the ornamented form of measure 87 (Figure 7). 21
m
Figure 7: Melodic Ornamention of Measure 87, 1st Movement.
Transition 4 (Figure 8, measure 275) is based on the figurations of 16th notes in scalar and arpeggiated form.
a tempo
m poco crecc
Figure 8: Transition 4, 1st Movement.
The figuration in the left hand part of Figure 9 is embellished octaves, which are extended to the compass of two octaves^l4] 22
A m
marcaio
Figure 9: Measures 291-295, 1st Movement.
The section between measures 283 and 298 repeats itself at measures 299-314.
Then the sequences begin at measure 315, and the diminished seventh chords appear as chromatic sequences (Figure 10, measure 322-328): 23
ü B u s u y nmpre
Piano cnae.
Planot ***—*—hfc—jl
Figure 10: Measures 322-328, 1st Movement.
The Solo Exposition ends with a tremolo figure and a fortissimo dynamic level.
The Tutti-Ritomello beginning at measure 333 functions as the modulation to the key of C major. 24
Development
The Development begins in C major with materials partly derived from theme I.
Chromatic 6th-chord sequences, chromatic scales, and arpeggios are the most important figurations in the development section (Figure 11, measure 408).
a tempo
risoluto
Figure 11: Measures 408-409, 1st Movement.
The section between measures 408 and 485 demands great strength and endurance from the performer. The harmony of this section is very complicated, but (Zhopin's performance made it sound simple:
Chopin glided through a sequence of keys so rapidly that, although the modulations were technically complete, the overall effect was with no real feeling of departure from the main key{15]
Almost all of Chopin's dissonances are passing, not to be intensified or empha sized, and are an integral part of his piano coloring{l6]
Moscheles understood Chopin's music only after he heard the composer play it
...the harsh modulations which strike me disagreeably when I am playing his composition no longer shock me, because he glides over them in a fairy-like way__[l7] 25
Slenczynska provides performance hints on this section (measures 408-486):
A tiny accent on the first note of the second beat will (a) estab lish the Polonaise sound, (b) add desirable impetus to the whole section while improving the pianist's technical control, and (c) help the con ductor to keep the orchestra matching the R ythm ic sweep{l8]
The phrase structure in the development section is 8 + 8 at the beginning, later becoming 4 + 4 at measures 408-455. The phrases become even shorter (2+2) at
456-473. Phrase length returns to 4 + 8 from measure 474 to the end of the development section.
The dynamic marking ”sf” in this section is very important It helps the entire section become more delineated and does not disappear in a constant contourless motionJl9]
The "crescendo” and markings are also identical with the melodic directions. The development section concludes with the biggest sonority in this movement (fff) and with the four-note group chromatic sequences (Figure 12, measure
478>. 26
PfanOi
Menu
Figure 12: Measures 478-480, 1st Movement.
Tutti Recapitulation
The Tutti Recapitulation is shortened and contains only 24 measures, as compared to 138 measures in the Exposition. The Introduction (measures 1-24) is the part which has been repeated. 27
Sdo Récapitulation
The solo Recapitulation is fairly traditional as it begins with the repetition of the tonic group. The second theme group is now presented in the relative major key of G instead of the tonic ”e”.
Solo Coda
The Solo Coda uses the same figuration for 24 measures (Figure 13, measure
621-644):
a tempo
p agitato Pianoi
Figure 13: Solo Coda, 1st Movement.
The coda concludes with chromatic descending 6th chords and tremolos at the dynamic level of ff on the chord of C major, effecting a deceptive cadence. 28
Tutti Coda
The Tutti Coda, using the material from the introduction, enters in the key of C major for eight measures before returning to the tonic key and ending in e minor.
SECOND MOVEMENT: ROMANCE; LARGHETTO
According to one writer, the Romance of the E minor Piano Concerto, is like "a glance at our most cherished souvenirs, a dream of springtime in the moonlight*t20]
The form of the second movement is difficult to categorize. However, this writer has used the thematic material and key relationships as decisive factors in order to determine the categorization of sonata form without development The over all form of the Noctume-like second movement will be outlined in Table 3. 29
Table 3
Form o f Second Movement
S e c t io n L ab el M easures k e y s
Introduction 1 -1 2 E 6 -1 0 C#minor 1 1 -1 2 E ( I )
Exposition Theme I 1 3 -2 1 E Transition 1 2 2 -3 0 B (V) Theme I I 3 1 -4 5 B (V) Closing theme 4 6 -5 1 B (V) Transition 2 . 5 2 -5 3 E ( I )
Recapitulation Theme I 5 4 -6 3 E ( I ) Transition 3 6 4 -7 1 C# m inor Transition 4 7 2 -7 9 g # - f * - g # Theme I I 8 0 -9 4 G# ( I I I ) Closing theme 9 5 -1 0 0 G# Transition 5 1 0 1 -3 dim 7 th ch o rd s
Coda 1 0 4 -1 2 6 E ( I )
Exposition
A brief orchestral Introduction (measures 1-12) on muted strings leads to Theme I presented by piano solo in E major (Figure 14, measure 13): 30
sostenulo
Pim, MMM ente.
m Pianop r e e B 9 Ê É p #
Piano
Figure 14: Theme I, 2nd Movement.
The second theme (Figure 15, measure 31) is in the dominant key of B major. It begins with a single melody in the right hand and a noctume-like accompaniment in the left hand. 31
Plana
Theme II, 2nd Movement.
The right hand part becomes double thirds and the second theme appears three times as a two-measure phrase (Figure 16, measure 39):
*
Figure 16: Measures 39-41, 2nd Movement.
Each time is rhythmically modified. The double-sixth figure appears at measure 45 in triplets. Sections 31-38 and 39-45 have practically the same melody, but the lat ter is more ornamented. 32
The closing theme begins at measure 46 (Figure 17) in B major.
dokisslmo
Figure 17: Closing Theme, 2nd Movement.
According to one author, melodies or broken chords in simple, undecorated octaves are rarely found in Chopin’s music; they are always disguised to some extent.[2l] In this manner measures SO and 51 outline a B major chord, but Chopin transformed it into colorful broken chord figures with an added sixth, G# (Figure 18).
gQ EP
Figure 18: Measures 50-51, 2nd Movement. 33
Récapitulation
After two measures of orchestral transition, Theme I returns at measure 54 in the tonic of E major, much more decorated than in the exposition. Transition 3
(Figure 19) and Transition 4 (Figure 20), noticeably in minor keys (c#-g#-f#-g#) are marked "agitato", "con forza”, "sotto voce", "con forza" and "appassionato".
agitato Piano
Figure 19: Transition 3, 2nd Movement. 34
llbatso 55mpïw7ëgafe
erese.
Figure 20: Transition 4, 2nd Movement.
This is the most dramatic place in the second movement. Transition 4 is repre sented by the double octaves for the right hand.
The second theme returns at measure 80, in G# major (m, rather than I, E major), more decorated than it was in the Exposition.
Transition 5 (Figure 21), beginning at measure 101, has employed diminished seventh chords to modulate from G# major to E major. It leads to the coda which is in E major. 35
/Oj ^ggiarisiimoJmierisjiwo
II i V ‘ ^
«M.
f 0 ^ — — — — ra llen t. _ _ _
P "F r r ^ ^
Figure 21: Transition 5, 2nd Movement.
Coda
In the coda, the orchestra takes over Theme I and the piano accompanies it with descending scales and arpeggios. The ability to play smoothly (legatissimo) and light ly (leggierissimo) is important in this closing section. 36
TBIRD MOVEMENT: RONDO: VIVACE
According to Slenczynska, the character of the third movement is derived from the Polish national dance, the Krakawiak.
The Krakawiak is an earthy Polish dance in 2/4 time that utilizes large groups of dancers who shout, improvise songs, and strike their heels together daringly in high leaps. The dance is named after the Polish city of Krakow,
Chopin's directives: scherzando, triangular staccato marks in the treble (A) and sharp accent (A ) over the G-sharp (bar 13) all point to the Krakowiak.’t22]
In this Rondo, the return of the first subject illustrates Chopin's adventurous attitude toward tonality, for the re-statement appears a semitone lower in E-flatj23]
For the second subject, Chopin again tries the experiment of presenting it and the cognate material on their first appearance in the subdominant key of A (instead of dominant B), while in their reprise they recur in the key of dominant B (instead of
Tonic E). The form of this movement is free, compared to Classical models, owing to the technical demands:
With the demands of technique and effect in so demanding a position, it is not surprising that the finer element of form, or the subtleties of suggestion as opposed to emphatic statement, should to some degree declinej24]
A detailed outline of the third movement is presented in Table 4. 37
Table 4
Form of Third Movement
Section Label M easures Keys
Introduction Orchestra 1 1-16 c# (vi)-E(I) A Theme I 17 E (I) Theme I 25 E Theme I 33 f# -E X 48 E Theme I 52 E Y 64 E O r c h e s tr a 2 68 E X 88 Ë Theme I 92 E
Transition 1 Orchestra 3 100 E 119 c* 128 C#-B 148 A 160 A
B Theme I I 171 A (IV)-b-F-A Transition2 212 A 220 C#-E 232 E 240 E 244 E—B 248 B 260 G—E
A' Theme I 272 E - f l a t ■ ' Theme I 280 E ( I ) Y 292 E O r c h e s tr a 2 296 E X 316 E Theme I 320 E Orchestra 3 328 E -c*
T r a n s it io n 3 340 C#-E-C# 356 modulation 372 modulation 380 m o d u la tio n 392 F*-B
B Theme I I 415 B ( v ) — c # —e—E Coda 456 E (I) 472 E 48 0 m o d u la tio n 49 6 E 38
The overall form can be seen below:
Sections: Introduction ABA' B Coda
Tonal structure: E A Eb-E B E
The first theme (I, Figure 22), which has bright, strong rhythmic vitality appears in section A five times at measure 17, 25, 33, 52 and 92. One appearance is in F# minor (measure 33), while the other four are in E major.
prHhêrMMio
«» #
Figure 22: Theme I, 3rd Movement. 39
To perform this very rhythmic subject effectively, Slenczynska again makes the following suggestion:
Think of the bass as if written in 4/8; articulate each eighth clearly with arm staccato. The opening treble theme presents the Krakowiak: J * J »• Both hands should lift well above the keyboard! ' ^ e dance should be seen, felt and heard{25]
Functioning as the small interludes among the first themes are the descending figurations as shown as Figure 23 (measures 48-51, represented as X in Table 4), and
Figure 24 (measures 64-67, represented as Y in Table 4).
phgglerisa n ln n t Plmrn dim.
Figure 23: Measures 48-51, 3rd Movement. 40
a Umpo
Figure 24: Measures 64-67, 3rd Movement.
Theme I returns in section A' for only three times (5 times in section A). Its first appearance (measure 272) is now in E-flat major for eight measures before returning to E major.
The orchestra tutti appears five times in this movement The opening tutti
(Orchestra 1), lasting for 15 measures, functions as a short Introduction. It begins in
C-sharp minor, then modulates into the tonic key of E major, leading into Theme I.
The tuttis (Orchestra 2) serve as the bridge between the Figure X and Figure Y at measures 68-87 and measures 296-315. Both last for 20 measures. The latter is the exact repetition of the former. The tuttis (Orchestra 3) at measures 100-118 and
328-339 are parts of Transition 1 and Transition 3, and the second appearance is shortened.
In 1833 Moscheles wrote: "(Zhopin's chief effects lie in passages requiring a large
grasp and stretch of fingerw.."[26]
In the transitions, the piano part consists of chords, arpeggios, scales, sequences,
large leaps, and rapid chromatic passages. The arpeggios at measures 128 (Figure 25)
and measure 136 (Figure 26 ) require large finger stretches of tenths. 41
Figure 25: Measures 128-129, 3rd Movement.
I3é
Figure 26: Measures 136-138, 3rd Movement
The "dolce” second theme (Figure.27) is stated four times in different keys (A-b-F-A and B-c#-e-E) in both B sections. Each appearance of Figure 27 is separated by the orchestra for two to three measures. 42
Piano
Figure 27: Theme II, 3rd Movement.
The Coda, beginning at measure 456, is a wonderful piece of piano writing, wholly consistent with the simultaneous creative work of the studies, op.lO and op.25^27] The similarities between the coda of Chopin's Concerto in E Minor and some of the studies in op.lO and op.25 can be seen in the following examples.
The right hand part of measure 459 (Figure 28) of this concerto passage and the same part of measure 66 (Figure 29) of Chopin's Etude op.25 no.5, are identical.[28]
Figure 28: Coda, 3rd Movement. 43
Figure 29: Chopin Etude in E Minor, op. 25, no. 5.
The difference is that the tempo marking of the third movement of the Concerto in E minor is "Vivace” and the tempo marking of the second section of the Etude op.25, no.5 is ”Piu lento”.
Large leaps are required in the left hand parts of both Figure 30 and the Etude op.25, no.4 (Figure 3l){29]
/«Mftro -
Figure 30: Measures 480-482, 3rd Movement, 44
Op.2S. N; 4.
Figure 31: Chopin Etude op. 25 no. 4.
FUNCTION OF DYNAMIC MARKINGS
The structure of dynamic contrasts has a close relationship with the formal structure of the concerto, and a discussion of the function of dynamics follows.
Awareness of dynamic contrasts and an understanding of musical structure are vital
for a performer's interpretation of a composition. Careful projection of the composer's
use of dynamics and form allow performances to be more interesting and under
standable to the listener. Chopin’s dynamic markings were written with great care
and precision. Winterbitz observes that
Chopin's compositions often show the entire flow of music accompanied by an almost uninterrupted chain of dynamic wedges all most accurately placed and sensitively proportioned; minute corrections shifting the beginning or end of the wedges reveal the painstaking consideration he gave to the dynamic structure^SO]
The gradual dynamic changes, crescendo and diminuendo, have considerable formal
importance. 'The dynamic arch moving a crescendo to fortissimo or decrescendo to
diminuendo corresponds usually to a formal unit of an exposition, development of
thematic group and recapitulation. Volume increase is applied by Chopin in the 45 concluding sections of main parts of a composition. In the concluding sections of the first movement, as well as the the coda of the third movement , Chopin increases intensity by adding rapid passagework while developing dynamics along the crescendo to a climactic 'ff or ’ffflS l]
The "sf" accent is exploited not only as sound emphasis but also as a supple mentary constructive element. An "sf" at the beginning or at the end of a longer figurative passage allows for its projection. The whole passage becomes more delin eated and does not disappear in a constant, contourless motion^32] This function can be observed clearly in the coda section of the third movement at measures411, 460,
468, 474, 478, 488, 491, 492 and 496.
Other dynamic markings "v " and " a ” are used by Chopin to stress the dance character in the mazurka-like 3rd movement of the concerto. The first theme uses
”T ” and "A " (Figure 32) and the second theme uses ”>” (Figure 33). 46
* ^ % * A * A $
Figure 32: Theme I, 3rd Movement. (Identical to Figure 22)
Figure 33: Theme U, 3rd Movement. (Identical to Figure 27) 47
The quick and sudden changes in dynamic effects are for the purpose of bringing out sonoritiesj33] This effect can be examined from measures 386 to 392 in the 3rd movement of this concerto.
The other dynamic marking ^ > ) used by Chopin, is almost always iden tical with the melodic shapes. When the melody ascends, Chopin uses , and when the melody descends he uses
The dynamic element is subordinated to the melodic and the dynamic aspect is governed by the melodic{34] "The analysis of the structure of the early works of
Chopin gives evidence to the fact that dynamics is treated as a supplementary ele ment of construction.’t35]
MEMORY
The E Minor Concerto requires about 40 minutes for performance. There are many similar passages in each movement which can lead the performer into wrong sections. Knowledge of the overall form and key relationships, and careful compari son of similar passages are essential for accurate and secure memorization of the con certo. A description of such similar passagework follows. 48 First Movement
In the first movement, there are three pairs of similar passages. The first one is in the Transition 3 between the first theme and the second theme, in both the
Exposition and the Recapitulation.
The last note of measure 202, D#, and the last note of measure 557, E, can mislead the performer into the Recapitulation too soon (if the performer plays E at measure 202), or can take the performer twice as long to finish the first movement
(if D# is played at measure 557).
34a
- 8^
34b
Figure 34: a and b. Measures 201-204 & 556-558, 1st Movement. 49
The second one is at the second theme group. The following examples show the similarity and the difference of the second theme between the Exposition and the
Recapitulation. Measures 250 and 601 are the dividing points. 50
stretto
35a
f ^ f t t f t L ' - ( I # = f ^ 1
Pianos i b I A # J m 1 ------m K:
i i m
35b Figure 35: a and b, Measures 245-254 & 596-604, 1st Movement. 51 The third one appears in Transition 4. The passage at measures 291-298 is
repeated almost exactly at measures 307-314. The difference starts at measures 313-4
and 297-8, which leads into different figurations. This can be observed clearly in
Figure 36a and Figure 36b.
ÉÉ Crete. m Pitna
36a
Mtno
Ped. m
36b
Figure 36: a and b, Measures 297-299 & 313-315, 1st Movement. 52
Second Movement
A critical learning problem in the second movement involves accurate memoriza tion of varied rhythms and intervals. Chopin decorated the same theme with a variety of ornamentation and rhythms. Listing and comparing similar passages can aid the performer in efficient memorization. The following examples show measure by measure comparisons of similar passages. For example, measure 13 should be compared with measure 54, 14 with 55 and so forth. 53 mstenulo
m
Pknor m m
37a
laçgierissimg^
m Piano,
(•ft)
m 2 r j.1 V con fuOeo ÎA P dim.
Y 3 1
■ 37b
Figure 37: a and b, Measures 13-16 & 54-57, 2nd Movement.
The obvious rhythmic change between figures 37a and 37b occurs at the 3rd beat of measure 54, where Chopin uses 19 notes for two beats. In measure 55 the descending dotted melody and trill replace the two half notes of measure 14. The whole-note bass of measure 14 does not appear at measure 55. The triplets in meas ure 56 replace the dotted rhythm and two eights of the RJH. part in measure 15. 54
The small intervallic differences which can influence the accuracy and color of
the music happen at the first beat (L.H.) of measures 13 and 54, the L.H. part of
measures 14 and 55, and the second beat (LH.) of measures 15 and 56.
The melody of Figure 37b is much more decorated than that of Figure 37a. In
Figure 37b, Chopin adds the grace notes to the first beat of measure 54 and the bass of measure 56, but replaces the rolling of the chord at measure 16 with a stronger effect ”sfp” at measure 57.
P Piana Sf
38a
crese leaatlufmo Plenoi teggnr/ssimo
38b
Figure 38: a and b. Measures 17-18 & 58-59, 2nd Movement
Besides the obvious change in the melody, the triplets at measure 59 need to be observed. 55
agitato Piano
39a
Pkm
39b
Figure 39: a and b, Measures 19-22 & 60-63, 2nd Movement.
Between Figures 39a and 39b, the only rhythmic difference can be found at the second beat of measures 21 and 62. The harmonies are different at measures 20
(vi-ii) and measure 61 (vi-i^7).
In the L.H. part of measures 60 and 61, the broken chords are more widely spaced than those of Figure 39a. 56
Planai 30
Ptd- * « PW.Pw.
4 0 a
m M** go ptMe»
‘V 't Æ iJ - L J [ g # »
4 0 b
figure 40: a and b, Measures 31-34 & 80-83, 2nd Movement.
Chopin transposes the passage a minor third down from Figure 40a to 40b. The
melody at measures 80 and 82 is more decorated than that in measures 31 and 33.
The major 3rd at the 4th beat (LJI.) of measure 82 replaces the single note F# at
the same place of measure 33. 57
erase. Piano
Ala
oesc. Plana
Alb
Figure 41: a and b, Measures 35-36 & 84-85, 2nd Movement.
The rhythmic differences occur at the RJl. part of measures 36 and 85. 58
Pteno
4 2 a
Piano 88
42b
Figure 42: a and b, Measures 39 & 88, 2nd Movement.
Chopin transposes a minor 3rd down again. The 32nd note at the RJI. part of
Figure 42a is changed to a 16th at Figure 42b. 59
43a
Uggieriss
43b Figure 43: a and b. Measures 41-42 & 90-91, 2nd Movement.
The rhythm at the 3rd beat of measures 41 and 90 is changed from a 32nd note to a 16th note. The large leaps at measure 42 are lOths (a 3rd + octave).
Those at measure 91 are 17ths (a 3rd + 2 octaves). 60
am *aam^
46" ^PJ/egghro — g
4 4 a
fw----
f € V9leem W i-T
4 4 b
Figure 44: a and b, Measures 45 & 94, 2nd Movement.
The double 6th triplets in the RH. part of measure 45 are replaced by the very decorated running figurations at measure 94. 61
m 'lI u j o L 4 5 a t'i'i uptm u % _____
/ • r T C L - u a u
45b
Figure 45'. a and b, Measures 47 & 96, 2nd Movement.
The interval changes at the 3rd and 4th beats of the RJl. part. 62
l x D o l - f ■ & • «b * 46a
46b
Figure 46‘. a and b, Measures 49 & 98, 2nd Movement.
The turn (Co ) appears at measure 98, but not at measure 49. Replacing the 18 notes are 26 notes at the last 2 beats in the R ü. part of measures 98 and 49. The intervals in the LU. part of both figures are different.
Third Movement
An obvious memory problem involves accurate observation of the length of rests before the four entries of the second subject. If the soloist jumps in too soon, or too late, serious ensemble problems may result with the orchestra. Table 5 shows the length of the rests before the entry of the second subject, found in the B sections of the Rondo A-B-A-B-Coda. 63
Table 5
Rests before the Second Subject
Length of rests Key of The Second Subject
B section Reprise
6 b e a t s A B 3 1/2 beats b c# minor 3 1/2 beats F e 4 1/2 beats A E 64
ENDNOTES
[1] Alan Walker, Chopin and Musical Structure, edited by Alan Walker Frederic
Chopin, (London: Barrie and Rockliff, 1966), p. 230.
[2] Ibid., p. 227.
[3] Nicholas Temperley,’’Scorography: the Music of Chopin,”Musical Newsletter 4
(Winter, 1974): p. 13.
[4] Gerald Abraham, Slavonic and Romantic Music. (New York: St. Martin's Press,
1968), p. 23.
[5] Ibid., p. 26.
[6] Ibid.
[7] Ibid., p. 27.
[8] Ibid., p. 24.
[9] Ralph Hill, ed., The Concerto (Baltimore: Penguin Books, Ltd., 1966), p. 167.
[10] Ursula Dammeier-Kirpal. Der Sonatensatz Bei Frederic Chopin. Wiesbaden:
(Breitkopf & Hartel, 1973), p. 57.
[11] Adam Carse, The Orchestra from Beethoven to Berlioz: A History of the
Orchestra in the First Half of the 19th century, and of the Development of
Orchestral Baton-Conducting (Cambridge: W. Heffer & Sons LTD., 1948), p. 91.
[12] Ruth Slenczynska, "On Chopin's Unexpected Invitations to Dance,” Piam Quar
terly 106 (Summer 1979% p. 25.
[13] Edgar Stillman Kelley, Chopin the Composer: His Structural Art and Its
Influence on Contemporaneous Music (New ayork: Cboper Square Publishers, Inc.,
1969), p. 55.
[14] Ibid., p. 50. 65
[15] Stanley Sadie, editor. The New Grove Dictionary of Music and Musicians,
6th ed., S.V. ’Tryderyk Chopin,” by Arthur Hedley, J. E. Brown, Nicholas Tem
perley, and Kornel MichaLowski. (London: Macmillan Publishers Ltd., 1980), p.
302.
[16] Rey M. Longyear, Nineteenth-Century Romanticism in Music, 2nd edition
(Englewood Cliffs, New Jersey: Prentice Halljnc., 1973), p. 93.
[17] Edith J. Hipkins, How Chopin Played (London: L. M. Dent and Sons Ltd.,
1937), p. 12.
[18] Ruth Slenczynska, op. dt., p. 24.
[19] Dalila Turlo, "The Evolution of Dynamics as An Element of Construction in
Chopin's Works,” Annales Chopin 6 (1965% p. 94.
[20] Bernard Gavoty, Frederic Chopin, trans. Louis Doyle (New York: Charles Scrib
ner's Sons, 1977), p. 383.
[21] Edgar Stillman Kelley, Chopin The Composer: His Structural Art and Its
Influence on Contemporaneous Music. (New York: Cooper Square Publishers,
INC., 1969), p. 41.
[22] Ruth Slenczynska, op. cit., p. 24-25.
[23] Peter Gould, Sonates and Concertos, edited by Alan Walker, Frederic Chopin
(London: Barrie and Rockliff, 1966), p. 54.
[24] John Culshaw, The Concerto (New York: Chanticleer Press Inc, 1949), p. 48.
[25] Ruth Slenczynska, op. dt., p. 25.
[26] Edith J. Hipkins, op. dt., p. 12.
[27] Peter Gould, op. dt., p. 155.
[28] Frederic Chopin, Twelve Etudes, op.lO, Twelve Etudes, op25. Three Etudes, op.
posth (New York: Lea Pocket Scores), p. 60.
[29] Ibid., p. 55. 66
[30] Alan Walker, Chopin and Musical Structure, edited by Alan Walker. Frederic
Chopin (London: Barrie and Rockliff, 1966), pp. 82-83.
[31] Dalila Turlo, ’The Evolution of Dynamics as an Element of Construction in .
Chopin's Works,” Annales Chopin 6 (1965): p. 94.
[32] Ibid.. p. 94.
[33] Ibid., p. 93.
[34] Ibid., p. 92.
[35] Ibid., p. 93. CHAPTER EV
CONCLUSION
Inspired by reading a biography of Chopin and hearing performances of the E
Minor Concerto, the writer decided to leam and to perform the concerto as part of the requirements for her doctoral degree. She proceeded to analyze the concerto in terms of orchestration, structure, key relationships, thematic material, phrasing, harmo ny and performance problems. The writer utilized the Polish edition, edited by Pad erewski, and included thematic and tonal analyses by Dammeier-Kirpal, Hill, Slenc zynska, Abraham, and Kelley.
It was found that the structure of dynamic contrasts had a close relationship with the formal structure of the concerto. Formal structural units corresponded to the composer's "dynamic arches”, i.e., gradual increases or decreases in volume effected by crescendos or descrescendos.
The writer offered suggestions about how to avoid memory problems in the con certo. She stated that such analysis aided her own performance and that such study by all musicians could aid their subsequent performances.
- 67 - BIBLIOGRAPHY
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31. Opienski, Henryk, ed. Chojiris Letters, tr. E L. Voynich. New York: Alfred E. Knopf, 1931.
32. Orga, A tes. Chopin: His L ife and Times. Sussex: Planet House Press Ltd., 1976.
33. Plantinga, Leon. Romantic Music: A History o f Musical Style in Nineteenth-Century Europe. New York: W. W. Norton & Company, 1984.
34. Sadie, Stanley, editor. The New Grove Dictiojiary o f Music and Musidans, 6th ed S.V. ’’Concerto, 19th Century,” by Hans Engel. London: Mcmillan Publishers Limited, 1980.
35. Sadie, Stanley, editor. The New Grove Dictionary o f Music and Musicians, 6th ed., S.V. "Fryderykk Chopin,” by Arthur Hedley, J. E Brown, Nicholas Temperley, and Komel MichaLowski. London: Mcmillan Publishers Limited, 1980.
36. Tovey, Donald Francis. Essays in Musical Analysis. Vol. I ll : Concertos. London: Oxford University Press, 1936.
37. Veinus, Abraham. The Concerto. Garden City, New York: Doubleday, Doran and Company, Inc., 1944.
38. Walker, Alan. Chopin and Musical Structure. Edited by Alan Walker. Frederic Chopin. London: Barrie and Rockliff, 1966.
39. Walker, Alan, ed Frederic Chopin: Profiles o f the Man and the Musician. London: Barrie and Rockliff, 1966.
40. Wenk, Arthur. Analyses o f 19th-century Music: 1940-1975. Music Library Association Index and Bibliography series, no.l5. Ann Arbor, MI: the Music Library Association, INC, 1976.
41. Young, Percy M. Concerto. London: Phoenix House LtdJ Phoenix Music Guides, 1957. 71
PERIODICALS AND JOURNALS
42. Brown, Maurice J.E. "First Editions of Chopin in Periodicals and Serial Publi cations.” Annales Chopin 5 (I960); pp. 7^12.
43. Harasowski, Adam. "An Overview of Chopin's Piano Music." Plano Quarter ly 113 (Spring 1981): pp. 18-32.
44. Higgins, Thomas. "(Thopin's Music and Fashions of Performing It: Some Crucial Differences.” American Music Teacher 29 (No.4, 1980): pp. 12-14.
45. Higgins, Thomas. "Chopin's Practices.” Piano Quarterly 113 (Spring 1981); pp. 38-41.
46. Higgins, Thomas. "Tempo and Character in Chopin.” Musical Quarterly 59 (January 1973): pp. 106-120.
47. Janis, Byron. "Chopin at the Opera.” Opera News 46 (February 13, 1982): pp. 12-14.
48. Jones, Oswald. "On the Study of Chopin's Manuscripts.” Jahrbuch Chopin, 1956, pp. 142-155.
49. Levy, Edward. "Analysis Applied to Performance.” College Music Symposi um 19 (Spring 1979): pp. 128-38.
50. Purswell, JM. "Chopin as Teacher.” Clavier 18 (October 1979): pp. 16-19.
51. Robert, Walter. "Chopin's Tempo Rubato in Theory and Practice.” Piano Quarterly 113 (Spring 1981): pp. 42-44.
52. Slenczynska, Ruth. "On Chopin's Unexpected Invitations to Dance.” Piano Quarterly 106 (Summer 1979): pp. 24-25.
53. Temperley, Nicholas. ” Scorography: the Music of Chopin.” Musical News letter 4 (Winter, 1974): pp. 11-14 .
54. Turlo, Dalila. "The Evolution of Dynamics as an Element of Construction in Chopin's Works.” Annales Chopin 6 (1965): pp. 90-103. 72
UNPUBLISHED WORKS
55. Burdick, Michael Francis. "A Structural Analysis of Melodic Scale-Degree Tendencies in Selected Themes of Haydn, Mozart, Schubert, and Chopin.” Ph.D. Dissertation, Indiana University, 1977.
56. Higgins, Thomas. "Chopin Interpretation: A Study of Performance Directions in Selected Autographs and Other Sources.” PhD. Dissertation, The University of Iowa, 1966. »
57. Kiorpes, George A. "The Performance of Ornaments in the Works of Chopin.” D.M.A. Dissertation, Boston Universtiy, 1975.
58. Ryan, Francis JJr. "The Performer's Guide to Analysis.” PhD. Dissertation. Florida State University, 1978.
MUSIC SCORE
59. Chopin, Fryderyk. Concertos. Edited by IJ. Paderewski, with the orchestral accompaniment arranged for a second piano. Warsaw: Polish Music Publica tions, 1959.
60. Romantic and Modem Piano Concertos. Edited and devised by Albert E. Wier. New York: Longmans, Green and Co. 1940.
61. Chopin, Frederic. Piano Concerto No.l in E Minor, op.ll. New York: Ernst Eulenburg, Inc. 1957.
62. Chopin, Frederic. Piano Concerto in E Minor, op.ll. Edited by Rafael Joseffy, with the orchestral accompaniment arranged for a second piano. New York: G Schirmer, Inc., 1918.
63. Chopin, Frederic. Twelve Etudes, op.lO, Twelve Etudes, opJ25 and Three Etudes, op. Posth. New York: Lea Pocket Scores. (A photographic reduction from Vol. 2 of Breitkopf & Hartel's complete Works of Chopin, 1878-80). 73
DISCOGRAPHY
64. Freed, Richard. Program Notes. Chopin Piano Concerto No.l, in E Minor, op.ll. Krystian Zimerman and Los Angeles Philharmonic Orchestra, conducted by Carlo Maria Giulin., Deutsche Grammophon 2531.
65. Ronty, Bruno G. Program notes. ’ Chopin Piano Concerto NO.l in E Minor. Bela Davidovich and the National Philharmonic Symphony Orchestra, Conduct ed by Alexnder Yansons, Bruno-14068, U.SA.
66. Schumann, Karl. Program notes. Chopin Concerto in E Minor and Mazurk as. Tamas Vasary and Berliner Philharmoniker, conducted by Jerzy Semkow, Deutsche Grammophon-136453, Germany.
67. Askenase, Stefan and Residentie Orkest Den Haag, conducted by Willem van Otterloo, Deutsche Grammaphon-138085, Germany.
68. Wierzynski, Casimir. Program notes. Chopin Concerto No.l in E Minor Artur Rubinstein and Los Angeles Philharmonic Orchestra, conducted by Alfred Wallenstein, RCA Victor 1810, UÜA.