FREDERIC CHOPIN: MORE THAN A POLISH MAN

Gabriella Smith

MUS 455: Late Romantic and Twentieth Century Literature

Professor Fedoruk

April 17, 2019

Smith 1

Abstract

The following research paper for Late Romantic and Twentieth Century Music will explain the traditional views of Frederic Chopin’s aged biographies and their tendency to focus on Chopin as soley a Polish nationalistic figure. After reviewing resources of the past, the greater part of the paper will be dedicated to exploring and examining the possible non-Polish influences in Chopin’s compositions. This includes the personal influences of his benefactor Jane Sterling, his dear friend George Sand, and French composers of the era. In addition to allocating the main sections of the paper to Chopin's life outside the context of Polish nationalism, the ending will ​ ​ include the influences Chopin made on future French composers and French romanticism as a whole. Two of the compositions analyzed within the paper includes Chopin’s Etude in G-Sharp ​ Minor, op. 25, no. 6 and Debussy’s Etude No.2 Pour Les Tierces; images of the compositions ​ ​ ​ will be placed within paper to provide readers with a visual aid. The goal is to shed light on the lesser known parts of Chopin’s life and clarify the important people and compositions conceived throughout his time in Paris. Historical context on Parisian romanticism and salon culture will be added for further framework in order to build the credibility of the paper. In accordance, credibility for included works will be built through the use of scholarly articles from musicologists such as Dr. Jolanta T. Pekacz from the Polish Academy of Sciences in Warsaw as well as personal letters from Chopin himself. Readers will ultimately find that the paper is directed towards students studying the lesser known life of romantic composers and (on a broader scale) intended for anyone interested in the life of Chopin.

Smith 2

Introduction

When listening to Chopin’s Nocturnes, Op. 9 or Twelve Etudes, Op. 10 what do you ​ ​ ​ ​ hear? Is it the reminesense of modality written within the Polish chant titled Bogurodzica from ​ ​ ​ the 15th century or the polyphony written within dance music for royal Krakow courts of the

16th century?1 In my personal opinion, the most significant elements in both compositions listed is the use of ornamentation and flowing figures; elements that are reminiscent of the impressionistic artwork and creativity of French composers from the late romantic era. Although

Chopin wrote polonaises and mazurkas that included the cultural appeal of Poland during the fight for its independence, Chopin additionally wrote highly romanticized works that set in motion the music of composers such as Faure and Debussy. Additionally when comparing the compositions of Polish nationalistic composers, such as Henryk Wieniawski’s Eight ​ Etudes-Caprices, Op.10 with Chopin’s Twelve Etudes, Op.9, stark differences in rythm and ​ ​ ​ musical scales can be argued. Listen for yourself to hear the playful scherzo-like rhythm and large leaps of Wieniawski’s Eight Etudes - Caprices, Op.10 No.8 differentiate from the virtuosic ​ ​ running sixteenth notes of Chopin’s Twelve Etudes, Op.9 No.1.2 No doubt Chopin wrote a great ​ ​ deal of scherzos and other works that were formed with Polish folk idioms in mind, however, the course of this paper is to identify the musical elements outside the idea of Polish nationalism and find influences that made his music exclusive from other composers.

1 M​ aja Trochimczyk, “The Briefest History of Polish Music,” University of Southern California: Polish Music Center, last modified June 17, 2018, https://polishmusic.usc.edu/research/publications/essays/briefest-history-of-polish-music/. ​

2 P​atsy Morita, “Henryk Wieniawski: Etudes-Caprices (8) for 2 Violins, op. 18,” Allmusic.com, last modified 2011, https://www.allmusic.com/composition/etudes-caprices-8-for-2-violins-op-18-mc0002387284. ​

Smith 3

A Brief Lesson on Chopin’s Life

Frederic Chopin was a renowned Polish composer who lived with his Polish mother ​ and French father under the two principalities of Poland (Prussia and Russia) for a considerable amount of time. It was during Chopin’s youth that Poland was under Napoleonic occupation, which created a highly nationalistic country identified by Polish culture unique from any of those before.3 This identification of nationalism and the idea of the cult personality was intertwined into a large portion of the early biographies written for Chopin. Well known composers and music critics who have analyzed Chopin use the connections of Chopin’s Polish lifestyle to further explain his compositional process.4 These include composers such as Franz Liszt and

Zygmunt Stojowski; Franz Liszt specifically stated in his book titled Life of Chopin, “His ​ ​ Polonaises [a piano piece written by Chopin titled Polonaise in A-Flat Major] is characterized by ​ ​ energetic rhythms...the most noble traditions of ancient Poland are embodied in them.”5

Additionally as stated within the article by Maja Trochimczyk, “Stojowski frequently cited

Paderewski [the prime minister of Poland] to prove his points about the use of tempo rubato in

Chopin’s work, the national characteristics of Chopin, and pedal use in Chopin’s performances.”6

3 C​ laire Fedoruk, “Parisian Romanticism: Instrumental Music” (PDF of lecture, Azusa Pacific University, Azusa, CA, January 13, 2020), https://canvas.apu.edu/courses/19410/files/1811698?module_item_id=516799. ​ ​

4 J​olanta Pekacz, “Deconstructing a 'National Composer': Chopin and Polish Exiles in Paris,” 19th-Century Music ​ 24, no. 2 (Autumn, 2000): 161, https://www.jstor.org/stable/746840. ​ ​

5 F​ranz Liszt, Life of Chopin (United States: O. Ditson, 1863), 31. ​ ​

6 M​ aja Trochimczyk, “Stojowski, Paderewski, and Polish Music in America,” Zygmunt Stojowski and His Times 5, ​ ​ no. 2 (2011), https://polishmusic.usc.edu/research/publications/polish-music-journal/vol5no2/a-master-lesson-on-chopins- first-impromptu/ Smith 4

The aesthetics of Polish music that portray heroic expressions through robust and energetic tempos has been one way in which early biographies have used Polish nationalism to define Chopin’s work. Furthermore, many biographies of the early 20th century have unquestionably used earlier biographies to highten the perception of Chopin’s nationalistic image. Nonetheless, newer biographies (and earlier personalities, such as George Sand, who were close to Chopin) found the heroic expressions of his music to not only be inclusive of

Polish nationalism and the revolutionary tendencies occurring throughout the time in France, but more broadly Europe. The difficulty in determining the amount of Polish nationalism that influenced Chopin’s work is due to the fact that Chopin himself spoke little of politics. This furthers my own need for exploration into Chopin’s personal life and non-Polish influences.

Two of Chopin’s Closest Companions

Jane Sterling and George Sand were two of Chopin's closest companions. Jane Sterling was one of Chopin’s benefactors, pupils of the piano, and friend. It was through her lessons

Chopin would learn to write music for students of the piano. As stated by Jacqueline Leung,

“Jane Stirling’s scores along with annotations by Chopin’s hand had become a treasure trove of insight into his teaching and provided an invaluable glimpse into his ideas regarding tempo indications, fingerings, ornamentation, and pedaling.”7 A few original scores annotated by

Chopin are still legible today; the original score for Nocturne Op.15 No.1 was written with an ​ ​ emphasis on the articulations of the right hand and allowed students to focus on the phrasing of

7 J​acqueline Leung, “Revisiting History: Jane Sterling - Chopin's Most Devoted Student,” Piano Performer ​ Magazine, December 22, 2016, ​ http://magazine.pianoperformers.org/revisiting-history-jane-stirling-chopins-most-devoted- student/. ​

Smith 5 the measures.8 It was through Jane Stirling’s copy of the score that musicologists were able to notate the markings made by Chopin; the fingering marks he made were later placed into the new copies. Chopin understood that students who were not as advanced on the piano would need these types of markings, so they were also included into the two nocturnes he wrote specifically for Jane Sterling titled Nocturne Op.55 No.1 and No.2 in F and E Flat Minor.9 In reference to ​ ​ the score of Nocturne Op.55 No.1 in F Minor, Chopin uses a recurring pattern in the A section ​ ​ of the bass line with the chords placing an emphasis on the second and fourth beat of each measure. Likewise, the treble line of the A section stays relatively simple in comparison to other compositions of Chopin (such as Chopin’s Nocturne Op.72); pedal markings are additionally ​ ​ written throughout the entire piece for schooling purposes.

Figure 1.1 above provides a visual of the extensive pedal markings and recurring pattern in the A section of Nocturne Op.55 No.1 in F Minor. 10 ​

In personal letters to his family, Chopin describes his “simpler” pieces as easily readable ​ for his pupils of the aristocratic class as well as emotionally provocative for musicians alike. As

8 J​ean-Jacques Eigeldinger, Chopin as Seen by His Pupils: Pianist and Teacher (Cambridge: Cambridge University ​ ​ Press, 1979), 20, https://books.google.com/books?id=tl2sAwAAQBAJ&pg=PT142&lpg=PT142&dq=jane+stirling% 27s+composer&sour. ​

9 J​acqueline Leung, “Revisiting History: Jane Sterling - Chopin's Most Devoted Student.”

10 F​rederic Chopin, Nocturne in f Minor, op. 55, no. 1 (n.p.: Musicnotes, Inc., 2009), meas. 1-4, ​ ​ https://www.musicnotes.com/sheetmusic/mtd.asp?ppn=MN0073869&gclid=EAIaIQobChMIp7r7Te6AIVkT2tBh3q 4w.

Smith 6 quoted from his letter of 1829, “I have captured [the attention of] both the learned and the emotional folk [with my compositions], they will now have something to talk about.”11 Chopin in turn left such an influence on Jane Sterling that she later managed and maintained his manuscripts; without Sterling we may not have the current copies to some of Chopin’s works.

George Sand, on the other hand, can be described as one of Chopin’s partners; the two had a passionate relationship that entailed for nine years and would greatly influence Chopin’s compositions. Whether or not the relationship itself was mentally straining on Chopin is a question lost in the field of different biases. On one side Maurycy Karasowski, Chopin’s english translator and author of the book titled The Life and Letters of Chopin, has described their ​ ​ relationship to be built on the intensity of George Sand’s love. Karasowski directly states, “ finding that Chopin’s hopes of an ideal union were shattered, he threw himself into the arms of a woman who exercised influence over him.”12 Music reviewists of The Musical Times in 1880 ​ ​ have otherwise stated, “Chopin had an artist’s hunger for sympathy and George Sand [a woman and poet] understood him as he understood himself.”13 The quote hints to the idea of their relationship being built on both the love of Chopin and George Sands.

There is no doubt that within their relationship Chopin was inspired by her presence; his compassion for her is seen through the sentimental values of his work. Chopin wrote numerous works during their turbulent relationship and Sand’s “radical” approach to expressing french

11 F​rederic Chopin, trans., Chopin's Letters, trans. E. L. Voynich (New York: Dover Publications, Inc., 2013), 1. ​ ​

12 M​ aurycy Karasowski, The Life and Letters of Chopin (n.p.: W. Reeves, 1879) ​ ​

13 ​“Chopin and George Sand,” The Musical Times and Singing Class Circular 21, no. 444 (February 1, 1880): ​ ​ 64-66, https://www.jstor.org/stable/3357956?read-now=1&refreqid=excelsior%3A942bf208c531006cc05b3c0b9508e939& seq=2#page_scan_tab_contents. ​

Smith 7 revolutionary ordeals through her writings would theoretically affect Chopin's works. As stated previously, Chopin wrote Polonaise in A flat Major during 1840; the piece was described by ​ ​ George Sand to exemplify heroic expressions in the era of the French Revolution. A translation of her opinion on the composition states, “The inspiration! The strength! The vigour! There is no ​ doubt that such a spirit must be present in the French Revolution. From now on this polonaise should be a symbol, a symbol of heroicness!”14 Her political convictions left a mark on Chopin and his works, but also other people's perceptions of his work.

Chopin’s Career Developments in French Romanticism

The French revolution and romanticism as a whole left a widely felt influence in the works of Chopin. This includes the influence of multiple French artists who were considered to be his colleagues, French parlorism, and the influence of his father. His father taught French as a profession to the aristocracy which allowed Chopin to stand on good terms with the Austrian tsars and princes; additionally, his father provided Chopin the passport needed to explore the enriching culture of Paris. It was during the Polish uprising of 1830 that Chopin took his compositional process to Paris and eventually found work living there. While working as a piano instructor (to students such as Jane Sterling) and his nine year relationship with French writer

George Sand, Chopin found the ideals of French parlorism to be keen to his own introverted personality.

It is known that Chopin preferred smaller settings; responsively, Parisian parlors allowed

Chopin to perform solo piano pieces for a more intimate environment.15 Friends such as Pauline

14 R​ obert Cummings, “Chopin: Polonaise in A-Flat Major, op. 53,” Allmusic.com, last modified 2011, https://www.allmusic.com/composition/polonaise-for-piano-no-6-in-a-flat-major-héroique-op-53-ct-155- mc0002393291. ​

15 C​ laire Fedoruk, “Parisian Romanticism: Instrumental Music” (January 13, 2020). Smith 8

Viardot and Eugene Delacroix joined Chopin during these intimate settings and provided criticism/analysis of his work in socially acceptable terms.16 These “acceptable terms” for criticism became the guiding principles to Chopin’s benevolence with women of the arts. It can be noted by Benedetta Craveri in her book titled The Age of Conversation that, “conversation [in ​ ​ ​ Parisian parlors] had become openly critical, confrontational and conspiratorial, without losing any of its gaiety, its verve or its elegance."17 For that reason, women of Parisian culture and broader social classes, which included Chopin and Eugene Delacroix, were then allowed to ​ discuss the arts in a respective environment.

Pauline Viardot was a french mezzo-soprano to whom Chopin’s compositions were transcribed, and with the influences of Italian and French singing provided to Chopin, he obtained the knowledge necessary to write compositions that often mirrored lyricism and vocal technique.18 Works written during this time of his life (in the 1840’s) became more lyrical and mood evoking. This included Barcarolle in F Major Op 60, a piano piece which hinted to the ​ ​ imagery of a Venitian boat song used by gondoliers, as well as his sentimental Nocturnes, Op. ​ 27.19 It is best stated by Stephen Hough, a current classical composer and pianist, “[when Chopin ​ was] living in Paris apart from the cities where the great Germanic heritage dominated, it emboldened Chopin’s instincts as a composer...he reveled in writing sonorous ballads, dreamy

16 L​eon Plantinga and Arthur Hedley, “Frederic Chopin: Biography, Music, and Facts,” Britannica.com, last modified March 5, 2020, https://www.britannica.com/biography/Frederic-Chopin. ​ ​

17 A​ lan Riding and Benedetta Craveri, “Birth of the Salon: An Article On the Age of Conversation,” New York ​ Times, Nov. 20, 2005, https://www.nytimes.com/2005/11/20/books/review/birth-of-the-salon.html. ​ ​ ​

18 A​ dam Augustyn and Patricia Bauer, “Pauline Viardot: French Singer,” Britannica.com, last modified February 5, 2020, https://www.britannica.com/biography/Pauline-Viardot. ​ ​

19 F​rederic Chopin, Barcarolle, op. 60 (n.p.: Brandys & Cie, n.d.), https://musopen.org/music /84-barcarolle-op-60/. ​ ​ ​ ​

Smith 9 nocturnes, bittersweet mazurkas and personal pieces.”20 Chopin thrived on the influences of

Vienna that were brought into France and the “role of dreams” in romantic culture. Gottfried

Wilhelm Fink, a music critic of the mid 19th century, wrote about the imagery of Chopin’s nocturnes in his review by stating,“[it is like] a dream who revels in round dances with longing

[Sehnsucht].”21 Through his imagery, other musicologists have described Chopin’s nocturnes as ​ ​ sentimental and acting in accordance to the romantic concept of longing for the unattainable, infinite, and ideal.22 This would later create the transition into French impressionism: a style based around tone colors, soft edges, and seamless transitions in music.

Chopin Sets Motion to French Impressionism

French impressionism of the 19th and 20th century was marked by composers such as

Ravel, Debussy, and Satie; yet, the beginning of impressionism can be traced back to the compositions of musicians such as Chopin. His compositions can be considered the muse of many early 20th century composers. Debussy specifically stated, “for with the piano alone he discovered everything” when editing Chopin’s twenty-four preludes. These edits later enthralled and prompted the creation of Debussy’s own set of twelve etudes.23 As a comparison between ​ Chopin and Debussy, Etude in G-Sharp minor Op. 25, No.6 by Chopin is highly chromatic and ​ ​

20 A​ nthony Tommasini, “Emanuel Ax and Stephen Hough Explore the French Side of Chopin,” The New York ​ Times, May 11, 2015, https://www.nytimes.com/2015/05/12/arts/music/emanuel-ax-and-stephen-hough-explore-the- ​ ​ french-side-of-chopin.html. ​

21 J​onathan D. Bellman and Halina Goldberg, “Chopin’s Oneiric Soundscapes and the Role of Dreams in Romantic Culture,” in Chopin and His World (n.p.: Princeton University Press, 2017), 15-17. ​ ​

22 J​onathan D. Bellman and Halina Goldberg, “Chopin’s Oneiric Soundscapes and the Role of Dreams in Romantic Culture,” in Chopin and His World (n.p.: Princeton University Press, 2017), 15-17. ​ ​

23 M​ ckay, Mike, “Claude Channels Chopin: Etude in G-Sharp Minor, op. 25, no. 6” podcast by Mike Mckay. Radio ​ Chopin, WDAV, 2009. Audio, 3:46. ​ http://www.radiochopin.org/episodes/item/496-radio-chopin-episode-37-etude-in-g-sharp-minor-op-25-no-6.

Smith 10 includes a repetitious right handed line of sixteenth notes in thirds (with broken eighth note chords in the left). Debussy decided to later use this in his own etude titled Etude No.2 Pour Les ​ Tierces. This commonality between rhythmic and chromatic writing stresses the idea of technical ​ challenges that both etudes bring to the value of the performance for each work.

Figure 2.1 above provides a visual of measures 3 and 4 of Etude in G-Sharp minor Op. 25, No.624, while Figure 2.2 ​ ​ provides a visual of measures 39 and 40 of Etude No.2 Pour Les Tierces25. ​

In Worri Kim’s doctoral thesis he explains how Chopin’s works were valued in both the art of performance as well as the art of teaching. Kim states, “Chopin transformed the etude from a mechanical exercise meant only to develop finger dexterity to the etude du concert, in which ​ ​ ​ technical problems are still addressed but are given much more musical substance and appeal”.26

24 F​rederic Chopin, Etude in G-Sharp Minor op. 25, No.6 (n.p.: Bote & Bock, 1880), 1, ​ ​ https://www.free-scores.com/download-sheet-music.pdf=1500. ​

25 C​ laude Debussy, Etude No.2 Pour Les Tierces (n.p.: Michael Kravchuk, n.d.), 1, ​ ​ https://michaelkravchuk.com/free-piano-sheet-music-etude-no-2-pour-les-tierces-debussy/. ​

26 W​ oori Kim, “A Comparative Study of the Etude Genre in Chopin and Debussy: Technical Application and Pedagogical Approach” (diss., University of Cincinnati, 2014), 7-11, https://etd.ohiolink.edu/!etd.send_file?accession=ucin1399624188&disposition=inline. Smith 11

Thus prompting Chopin’s technical writings to be of great value, much like the value Debussy found in the works as well, and provide a multitude of pedagogical aspects.

As written earlier, one of the ways Chopin would earn money was by providing lessons to students of the piano; the lyrical quality of the student’s pieces would allow for greater expression in the exercises and help exemplify the skills of the performer. Debussy’s etudes could contrastingly be described to some as rigid in form, but this is due to the fact that each of the twelve etudes focused on a type of musical exercise. The second etude, Etude No.2 Pour Les ​ Tierces, focused specifically on the interval of thirds and a main reason for the “rigid” form was ​ to follow in suit of his predecessors; Debussy uses the traditional ABA ternary form that Chopin does in order to situate himself as a descendant of the composers from this genre.27

It should be noted that throughout the era of impressionism a spark of artistic movements were created. One artistic movement titled Les Apaches was formed in Paris to emphasize the importance of music, poetry, and other forms of art. Composers of the movement included Ravel and Satie; both to whom were greatly influenced by the compositional writing of Debussy.28 The twelve etudes of Debussy that were referenced above were written in 1915. This year was inclusive of an era that allowed for more expressive and open qualities in artwork, therefore, although the form of the etudes followed traditional structures of the past it eluded to the musical styles of the future. This included the absence of fingering and more abstract expression of

27 W​ oori Kim, “A Comparative Study of the Etude Genre in Chopin and Debussy: Technical Application and Pedagogical Approach” (diss., University of Cincinnati, 2014), 7-11, https://etd.ohiolink.edu/!etd.send_file?accession=ucin1399624188&disposition=inline.

28 S​teven Moore Whiting, Satie the Bohemian: From Cabaret to Concert Hall (New York: Oxford University Press, ​ ​ Inc., 2002), 345.

Smith 12

French pianism. The fact Debussy strived to follow French tradition in his late years but looked at Chopin to be one of his greatest influences provides me with evidence that Chopin had widely influenced French music and created an elegant appeal to technical writing.

France Became Chopin’s New Home

Paris was a hub for artistic expression and it was no surprise that composers from other countries would become enthralled with learning French romanticism and later lean into its continuous acceptance for self expression through innovating compositional processes. Much like Chopin who came as a Polish exile into France, Satie was brought into the world of French society from Bohemia through the auspices of Ravel and the Les Apaches. Thus, the appeal of

French culture has been one to continue over the years and the transitions from one country to another can be proclaimed as an influence on Chopin’s perspectives and other composers who traveled to France as well. Chopin had listed multiple friends and colleagues, other than the ones mentioned earlier in the paper, to whom he enjoyed living in Paris with. In one of his letters

Chopin wrote about two social accounts in Paris, “Today I go to Pani Wincengerode’s to an evening party and from there to another at Panna Kicka’s where they’ll ask me to improvise..[the next day] I will go to the French theatre that opens with Rataplan.”29 This simple explanation of what he did passing time in France provides proof that the French lifestyle became more of his reality the longer he lived within the country. As Dr. Jolanta T. Pekacz points out, “the aura surrounding the French capital [after the Polish Uprising of 1830] was not the only reason it was chosen as home by refugees; France proved to be a sense of shelter and comfort”, which shows how new environments can change perspectives of the people living there and can in some

29 F​rederic Chopin, Chopin's Letters, trans. E. L. Voynich (New York: Dover Publications, Inc., 2013), 48. ​ ​

Smith 13 aspects provide positive semblance.30 In the case of Chopin, the toleration France allowed for liberal ideals in comparison to other European countries of the time may have been the overriding factor for the non-Polish influences in his compositions.

Conclusion

In conclusion, Chopin’s companions and the environment he lived in for the majority of his life included multiple non-polish influences. The people, culture, and society as a whole in the examples above are only a short synopsis to the greater extent of his career as a composer and life in general. From Jane Sterling who provided him with the perspective of an amature pianist needing markings and technical attributes in order to perpetuate her musicianship to

Pauline Viardot, a virtuosic French vocalist,who influenced the lyricism in his compositions;

Chopin used his relationships with others to help create pieces of work that were both skill-oriented as well as entertaining. By bringing the French romantic details of Chopin’s nocturnes and etudes to light, readers will hopefully learn how to study musical elements of scores and correlate them to the historical context of the composer. If one thing is for certain, there is always more than one side to a story and music should be analyzed in all aspects. We ​ must learn to accept the idea that composers may evoke more than one type of emotion for their personal portrayal of a piece as well as question where the emotions they wanted to be evoked came from.

30 J​olanta Pekacz, “deconstructing a 'national Composer': Chopin and Polish Exiles in Paris,” 19th-Century Music ​ 24, no. 2 (Autumn, 2000): 163-64, https://www.jstor.org/stable /746840. ​ Smith 14

Bibliography

Augustyn, Adam, and Patricia Bauer. “Pauline Viardot: French Singer.” Britannica.com. Last modified February 5, 2020. https://www.britannica.com/biography/Pauline-Viardot.

Bellman, Jonathan D., and Halina Goldberg. “Chopin’s Oneiric Soundscapes and the Role of Dreams in Romantic Culture.” In Chopin and His World, 15-17. N.p.: Princeton ​ ​ University Press, 2017.

Chopin, Frederic. Barcarolle, op. 60. N.p.: Brandys & Cie, n.d. ​ ​ https://musopen.org/music/84-barcarolle-op-60/.

Chopin, Frederic, trans. Chopin's Letters. Translated by E. L. Voynich. New York: Dover ​ ​ Publications, Inc., 2013.

Chopin, Frederic. Etude in G-Sharp Minor op. 25, No.6. N.p.: Bote & Bock, 1880. https://www.free-scores.com/download-sheet-music.php?pdf=1500.

Chopin, Frederic. Nocturne in f Minor, op. 55, no. 1. N.p.: Musicnotes, Inc., 2009. ​ ​ https://www.musicnotes.com/sheetmusic/mtd.asp?ppn=MN0073869&gclid=EAIaIQobC hMIp7r7__Te6AIVkT2tBh3q4w.

“Chopin and George Sand.” The Musical Times and Singing Class Circular 21, no. 444 ​ ​ (February 1, 1880): 64-66. https://www.jstor.org/stable/3357956?read-now=1&refreqid=excelsior%3A942bf208c53 1006cc05b3c0b9508e939&seq=2#page_scan_tab_contents.

Cummings, Robert. “Chopin: Polonaise in A-Flat Major, op. 53.” Allmusic.com. Last modified 2011. https://www.allmusic.com/composition/polonaise-for-piano-no-6-in- a-flat-major-héroique-op-53-ct-155-mc0002393291.

Debussy, Claude. Etude No.2 Pour Les Tierces. N.p.: Michael Kravchuk, n.d. ​ ​ https://michaelkravchuk.com/free-piano-sheet-music-etude-no-2-pour-les- tierces-debussy/.

Eigeldinger, Jean-Jacques. Chopin as Seen by His Pupils: Pianist and Teacher. Cambridge: ​ ​ Cambridge University Press, 1979. https://books.google.com/books?id=tl2sAwAAQBAJ&pg=PT142&lpg=PT142&dq=jane +stirling%27s+composer&sour.

Fedoruk, Claire. “Parisian Romanticism: Instrumental Music” (PDF). Lecture, Azusa Pacific University, Azusa, CA, January 13, 2020. https://canvas.apu.edu/courses/19410/files/1811698?module_item_id=516799.

Smith 15

Karasowski, Maurycy. The Life and Letters of Chopin. N.p.: W. Reeves, 1879. ​ ​ Kim, Woori. “A Comparative Study of the Etude Genre in Chopin and Debussy: Technical Application and Pedagogical Approach.” diss., University of Cincinnati, 2014. https://etd.ohiolink.edu/!etd.send_file?accession=ucin1399624188&disposition=inline.

Leung, Jacqueline. “Revisiting History: Jane Sterling - Chopin's Most Devoted Student.” Piano ​ Performer Magazine, December 22, 2016. ​ http://magazine.pianoperformers.org/revisiting-history-jane-stirling-chopins-most-devote d-student/.

Liszt, Franz. Life of Chopin. United States: O. Ditson, 1863. ​ ​ Mckay, Mike. “Claude Channels Chopin: Etude in G-Sharp Minor, op. 25, no. 6” Podcast by Mike Mckay. Radio Chopin, WDAV, 2009. Audio, 3:46. ​ ​ http://www.radiochopin.org/episodes/item/496-radio-chopin-episode-37-etude-in-g-sharp -minor-op-25-no-6.

Morita, Patsy. “Henryk Wieniawski: Etudes-Caprices (8) for 2 Violins, op. 18.” Allmusic.com. Last modified 2011. https://www.allmusic.com/composition/etudes-caprices-8-for-2-violins-op-18-mc000238 7284.

Pekacz, Jolanta. “Deconstructing a 'National Composer': Chopin and Polish Exiles in Paris.” 19th-Century Music 24, no. 2 (Autumn, 2000): 161-164. https://www.jstor.org/stable ​ ​ /746840. ​

Plantinga, Leon, and Arthur Hedley. “Frederic Chopin: Biography, Music, and Facts.” Britannica.com. Last modified March 5, 2020. https://www.britannica.com/biography/Frederic-Chopin.

Tommasini, Anthony. “Emanuel Ax and Stephen Hough Explore the French Side of Chopin.” The New York Times, May 11, 2015. ​ https://www.nytimes.com/2015/05/12/arts/music/emanuel-ax-and-stephen-hough-explore -the-french-side-of-chopin.html.

Trochimczyk, Maja. “Stojowski, Paderewski, and Polish Music in America.” Zygmunt Stojowski ​ and His Times 5, no. 2 (2011). ​ https://polishmusic.usc.edu/research/publications/polish-music-journal/vol5no2/a-master- lesson-on-chopins-first-impromptu/. ​

Trochimczyk, Maja. “The Briefest History of Polish Music.” University of Southern California: Polish Music Center. Last modified June 17, 2018. https://polishmusic.usc.edu/research/publications/essays/briefest-history-of-polish-music. Smith 16

Whiting, Steven Moore. Satie the Bohemian: From Cabaret to Concert Hall. New York: Oxford ​ ​ University Press, Inc., 2002.