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Interpreting Tempo and Rubato in Chopin's Music

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Interpreting Tempo and Rubato in Chopin's Music Interpreting tempo and rubato in Chopin’s music: A matter of tradition or individual style? Li-San Ting A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy University of New South Wales School of the Arts and Media Faculty of Arts and Social Sciences June 2013 ABSTRACT The main goal of this thesis is to gain a greater understanding of Chopin performance and interpretation, particularly in relation to tempo and rubato. This thesis is a comparative study between pianists who are associated with the Chopin tradition, primarily the Polish pianists of the early twentieth century, along with French pianists who are connected to Chopin via pedagogical lineage, and several modern pianists playing on period instruments. Through a detailed analysis of tempo and rubato in selected recordings, this thesis will explore the notions of tradition and individuality in Chopin playing, based on principles of pianism and pedagogy that emerge in Chopin’s writings, his composition, and his students’ accounts. Many pianists and teachers assume that a tradition in playing Chopin exists but the basis for this notion is often not made clear. Certain pianists are considered part of the Chopin tradition because of their indirect pedagogical connection to Chopin. I will investigate claims about tradition in Chopin playing in relation to tempo and rubato and highlight similarities and differences in the playing of pianists of the same or different nationality, pedagogical line or era. I will reveal how the literature on Chopin’s principles regarding tempo and rubato relates to any common or unique traits found in selected recordings. The selected recordings for this study are those made before 1962 by students of Mikuli, Mathias and Descombes, by pianists who are considered to be part of the Polish Chopin tradition, and by modern pianists who play on period instruments. I address issues such as tempo markings, and the use of certain types of rubato such as ritardando and hand displacement. Discovering the choices in the use of tempo and rubato in the performances of eminent pianists who are considered to be part of the Chopin tradition may help pianists to interpret and perform Chopin’s works, and piano teachers to teach Chopin works more effectively. i PREFACE AND ACKNOWLEDGEMENTS I use the Henle, Wiener or Konemann Urtext editions for the musical examples that support the analyses and discussions in Chapters 3 and 4, except for the Mazurkas, for which I have used the Alfred edition, and the Etude Op.10 No.5, for which I have used the Paderewski edition, as these were available to me at the time. After adding the score examples into the thesis, I consulted the Henle Urtext editions and found no difference in markings that would be significant. Schirmer has published an 1894 edition of Chopin’s works, which have been edited by Karol Mikuli. This edition further confirms the pedagogical link between Chopin and Mikuli, with its detail in fingering and occasional notes about the fingering. However, these details are not relevant to the content of my thesis, which is why I have chosen to use the Urtext editions instead. I acknowledge the record companies, Narodowy Instytut Fryderyka Chopina, Selene Music, and Pavilion Records for granting me permission to copy recordings for the purpose of examination and subsequent deposit in the University of New South Wales. Much gratitude is owed to my supervisor, Dr. Christine Logan for her generous contribution of time and effort in assisting with the completion of this document. She has been helpful in her guidance, expertise, and the translations from French text to English. I am also grateful to my parents, Mr. Yee Lee Ting and Mrs. Gek Sim Ting for their support of my studies in piano and music. ii TABLE OF CONTENTS ABSTRACT…………………………………………………………..………………………….i PREFACE AND ACKNOWLEDGEMENTS……………………………………………...…...ii TABLE OF CONTENTS……………………………………………...................................…...iii CHAPTER 1 – INTRODUCTION: AIM AND SCOPE………………………………..……....1 CHAPTER 2 – THE CHOPIN TRADITION 2.1. Definition of a tradition and literature on Chopin tradition…………….……………...….10 2.2. Chopin as a teacher and pianist…………………………………………………...….....…14 2.3. Issues concerning tempo and rubato in Chopin performance…………………….….........26 2.4. The pianistic tradition of Chopin performance………………………………...…...…..…41 CHAPTER 3 –ANALYSIS AND DISCUSSION OF RECORDINGS……………….………..61 3.1. Berceuse Op.57………………………………………………………………..………..…65 3.2. Etudes…………………………………………………………………………..…..…..….83 3.3. Impromptus…………………………………………………………….….....………..….115 3.4. Mazurkas…………………………………………………………………….……………150 3.5. Nocturne Op.15 No.2………………………………………….………………….…....…174 3.6. Preludes………………………………………….…………………….…………..…...…189 3.7. Waltzes………………………………………….……………………..…….……...…….230 CHAPTER 4 – INDIVIDUAL FEATURES OF PIANISTS 4.1. Cortot……………………………………….……………….………..…….……………..274 4.2. Friedman……………………………………….……………….…….…..……………….291 4.3. Koczalski……………………………………….……………….………..…………...…..304 4.4. Lukasiewicz……………………………………….……………………...…………....….318 4.5. Michalowski……………………………………….……………………..……….…...….323 4.6. Paderewski……………………………………….……………………..…..…………….328 4.7. Pugno…………………………………………….………………….…..…..…….…...…335 4.8. Rosenthal…………………………………………….………………….…..………...….340 4.9. Smidowicz…………………………………………….…………………………...…......348 4.10.Turczynski…………………………………………….….…………………………...…352 iii CHAPTER 5 – CONCLUSION……………………………………….……………….…..….359 APPENDIX – COMPARATIVE TABLES…………………………………………..…….…369 DISCOGRAPHY….……………………………..…………………….…………….……..…479 REFERENCES…………………………………………………………..….…………………485 iv CHAPTER 1 INTRODUCTION: AIM AND SCOPE The main goal of this thesis is to gain a greater understanding of Chopin performance and interpretation, particularly in relation to tempo and rubato. This thesis is a comparative study between pianists who are associated with the Chopin tradition, primarily the Polish pianists of the early twentieth century, along with French pianists who are connected to Chopin via pedagogical lineage, and several modern pianists playing on period instruments. Through a detailed analysis of tempo and rubato in selected recordings, this thesis will explore the notions of tradition and individuality in Chopin playing based on principles of pianism and pedagogy that emerge in Chopin’s writings, his compositions and his students’ accounts. Many pianists and teachers assume that a tradition in playing Chopin exists and yet the basis for this notion is not made clear. Certain pianists are considered part of the Chopin tradition because of their indirect pedagogical connection to Chopin. Chopin taught Mikuli and Mathias, who themselves taught pianists such as Koczalski, Michalowski, Rosenthal, and Pugno. Descombes, who was a Chopin disciple, taught Cortot. Each of these pianists is considered part of the Chopin tradition because of their pedagogical lineage, while also being known for their outstanding or individual style of playing. The idea of a tradition in Chopin playing is implied or overtly stated in many different kinds of studies. For example, Jeanne Holland’s doctoral thesis, Chopin’s Teaching and His Students (1972) aimed to find aspects of Chopin’s teaching that could be applied in the modern piano studio. Holland mentions a Chopin-Debussy tradition and a link between Chopin and Koczalski, through Mikuli, who taught Koczalski and was himself taught by Chopin. Holland states that Mikuli “took special care in training Koczalski, preparing him to be an heir to the Chopin tradition” and that Debussy’s piano teacher, “Mme. Mauté may have learned something of the Chopin tradition from hearing Chopin play” (1972: 306). In his book, French Pianism, Charles Timbrell (1992) claims a link between Chopin and the French school of piano playing since two of Chopin’s students, Georges Mathias and Emile Descombes, “passed on” elements of Chopin’s approach to piano playing. Timbrell asserts that Chopin’s playing ...has been well documented […] elements of his approach were passed on by […] Georges Mathias (whose students at the Conservatoire later included Raoul Pugno, Isidor Phillip, Santiago Riera, and Georges Falkenberg); and Emile Descombes (perhaps more of a Chopin disciple than an actual student, whose own students at the Conservatoire later included Alfred Cortot (Timbrell 1992: 21). CD liner notes also refer to the Chopin tradition when describing certain pianists. Alan Vicat asserts in CD liner notes in Raoul Koczalski Plays Chopin (1990), that “Rosenthal, Koczalski 1 and Michalowski were all Poles. It is therefore quite probable that these three do indeed represent the true Chopin tradition, particularly Koczalski and Michalowski” (1990: 3). Vicat suggests that the early twentieth century Polish pianists are more likely to be part of the Chopin tradition, and even more so for Koczalski and Michalowski because they were Mikuli’s students. The recording company, Selene Music, produced a series titled, The Great Polish Chopin Tradition, which is recordings of pianists associated with the Chopin tradition, including Mikuli’s students, and by Cortot. Below are charts found in the CD liner notes of The Great Polish Chopin Tradition by Selene Music (Koczalski Volume V 1999 and Lukasiewicz 2000). ’ 2 Leschetizsky is also linked with the Chopin tradition because he “acquired his fascination with the possibilities of varying tone colour from listening in the 1840s to Julius Schulhoff (1825- 1898), a pianist from Chopin’s circle […] Schulhoff had made the constant
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