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The Ballades of Frederic Chopin

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University of North Dakota UND Scholarly Commons Theses and Dissertations Theses, Dissertations, and Senior Projects 12-1-1981 The alB lades of Frederic Chopin Janell E. Brakel Follow this and additional works at: https://commons.und.edu/theses Recommended Citation Brakel, Janell E., "The alB lades of Frederic Chopin" (1981). Theses and Dissertations. 451. https://commons.und.edu/theses/451 This Thesis is brought to you for free and open access by the Theses, Dissertations, and Senior Projects at UND Scholarly Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UND Scholarly Commons. For more information, please contact [email protected]. ' 1 f. 1 'c' ,.!'l)~r,T(' ,.,H.,L l, ]3"11 .... J_.;/\ D' ••• ; 'J''1' · ...:'"· 1"i'_ ·, l·,r\ _ . Li1· Janl"ll E. Brakel Bachelor af Science, Mayville State Coll~ge, 1978 A Thesis Submitted to the Graduate Faculty of the University of North Dakota in partial fulfillnl\'!nt of the requirements for the degree of Master of Arts Grand Forks, North Dakota December 1981 I ' ' ,........I 'J-·liis 'l'he:;i.s su:Omitted by Janell E. Brakel in partir1l fulfillment of tl1e requirements for the Degree of !>laster nf Art:s from the University of North Dakota is h~reby ap­ proved Ly the Faculty Advisory Conunittee under whom the work has been done. ' / I' -'' , ~ _/ ,. ' , ,'I / - ,' ' I ./ , I' -~ v (Chairman) c - ' ' ' - ' This Thesis meets the standards for appearance and confor~s to the style and format requirements of the Graduate School of the University of i'Jorth Dakota, and is hereby approved . • Dean ritle T l1 e Ba 11 a ,:J es of _F_r_e_J._e_r__ j___'_c_c_;_10_,p.__i_n _____ -------- )epartment- 1'1usic )egree ____~M~a=-=s~t~e~r:__o::..::.f-=-A=r~t~s=-----------------~ In presenting this thesis ~n partial fulfillment of :!1e requirements for a graduate degree from the University >f North Dakota, I agree that the Library of this Univer­ ;ity shall make it freely available for inspection. I :urther agree that permission for extensive copying for ;cholarly purposes may be granted by the professor who ;upervised my thesis work, or in his absence, by the , :hairman of the Department or the Dean of the Graduate :chool. It is understood that any copying or publication •r other use of this thesis or part thereof for financial rain shall not be allowed without my written permission. t is also understood that due recognition shall be given .o me and to the University of l~orth Dakota in any cholarly use which may be made of any material in my hesis. ( Signature \_ I • Date .- ' I • • • 111 'I'ABLE OF C8NTENTS LIST OF EXAMPLES ................... ~ • • • • • • • • • • • • .. • • v • ABSTRACT~ .......................................... .. Vl. Chc:.pter I. INFLUE?~CES SHAPING THE r-1USICAL PERSONALITY OF CHOPIN. • . • • . • . .. • . • . .. • • . 1 II. CHOPIN'S MUSICAL STYLE: AN OVERVIEW OF HIS PIANO MUSIC . ., . • . • . • . • . 32 I I I. THE CHOPIN BAI.LADES: STRUCTURE AND NARRA- TIVE STYLE. • . • . • • • . • . • . • • • . • • • . • . • . • 56 IV. COMPARISON AND CONTRAST: STRUCTURE ANO NARRATIVE STYLE OF THE FOUR BAI,I,ADES....... 105 V. CONCLUSION. • • . • • . • . • . • . 115 BIBLIOGRAPHY. • • • . • • • • . • • . • • • • • • • • • • • • . • • • • • . • • • • 118 • 1. v I,IST <JF· EXAMPLES Example Page 1. G Minor Ballade, Op. 23, m. 6-7............. 67 2. G Minor Bal!.ade, Op. 23, m. 8-10............ 68 3. G Minor Ballade, Op. 23, m. 64-67..... ... ... 70 4. G Minor Ball~de, Op. 23, m. 68-70........... 71 5. G Minor Ballade, Op. 23, rn. 106-108......... 73 6. G Minor Ballade, Op. 23, rn. 170-171......... 75 7. F Major Ballade, Op. 38, rn. 3-6............. 81 8. F Major Ballade, Op. 38, rn. 46-47........... 82 9. F Major Ballade, Op. 38, m. 97-100.... ••• • . 84 10. F Major Ballade, Op. 38, m. 196............. 86 11. A-Flat Major Ballade, Op. 47, m. 1-2........ 90 12. A-Flat Major Ballade, Op. 47, rn. 54-56...... 92 13. F Minor Ballade, Op. 52, m. 1-2............. 98 14. F Minor Ballade, Op. 52, m. 8-9............. 98 15. F Minor Ballade, o~. 52, m. 84-86........... 100 16. F Minor Ballade, 0p. 52, m. 1.35-137......... 101 I v ABS'l'RAC'r The four Ballades of Chopin occupy a unique position withi11 his outp1Jt and in the repertory cf keyboard music. Al.though Chc~i n '·::.s not the onl:i' r.omposer to utj_lize the form, he is credited as being the first to adapt the ballade to the piano. His efforts resulted in the crea- tion of a unique '.:ype of single-movement piano piece cl:ar- acterized by an inherent narrative quality. Several individuals and events were i11fluential in shaping the musical personality of Chopin. Adalbert Zywny and Joseph Elsner provided piano and theory J.nstruction in Chopin'3 youth. The virtuosity nf Hummel, Paganini, and Field affect.ed Chopin as a composer and a.s a perforraer. Italian opera also exerted an influence upon his composi- tional style. Influential e'cnts include thP struggles of Po.lanu, t!1e Romantic Movement, and Chopin's battle against tuberculosis. Chopin's .nusical ~- ,·le is characterized by elaborate ornamentation of melc~· s, use of rapid figuration, ani cl1romatic l1a1·monics ..\n over•Jiew of Chot:Jin's music demonstI'iltC:?S l1ic'i i11dividuality in L'.'1<• treatrr1cnt of ootl1 ~>m.111 arid larcJ(~- sea 1 e works. cl1ar~ctur the piece. 'I'he cr1aracter •:>1eces, sui)jectivc: in • Vl r 1 a '__ u re , in lcngtl1 1rcln1 short to more e;;- t011deu w<irks. Chop1:1 re.•JitaL ized c,:~isting ·forms through his in11c)vativc ·.::om11osi tior1al elev ices, creatir1g both small-scale and large-scale character pieces . The Ballades occupy •a unique position within Chopin's output due to their inherent narrative quality. The Ballade~ contain the drama and suspense of the literary ballad without the presence of an actual story. Several writers have suggested a direct association of the Chopin Ba'lades with the literary ballads of Polish poet Adam Mickiewicz. Due to the fact that there is PO documented evidence to support the existence of a direct literary association, it is probable that Chopin chose to emulate features of narrative style rather than content of the literary ballad. Features of narrative style corrunon to the Chopin Ballades and the literary ballad cf the time include the following: suggestion of the presence of an unidentified nzi1rator, present tense, suspenseful unfolding of the I narrative, incremental repetition, characters in conflict, ilnd a trilgic or dramatic ending. A discussior1 c.f each of Lt1c• Ct1<Jµi11 Ballades in t{;rrns of structure and narrati·Je :;tylc~ clemor1stral:es S[lec~fic compositional features whicl1 Ctioi)in u~>eti to create drum<l and susi,ensc compar·"lbie to Li·1cil r)f lh<2 l iterar·y ballad. The structur<' <)f each Ball.id•! is ar1al)'Zed in term~ of Chopin's usc of ,, l• l • /\ con1- riu.rison 0nd contrast of c_impositi<)nal and nar1·ativc tecl1- r1ic1ues ut.! 1 i.:ced 'tli l:'.ir the four Ballades attempl:s to EX- plain tl1eir JJ.vergence of form . • • • • Vlll. ...... ....------·------------------------------------------------------------------------------------'! CB-r\P'l'f,R I LNFLUENC!:S St!APING T!IE !'-\USICAL PERSONALITY OF CHOPI!~ Bach is l!ke an astronomer who, with the help (1f ci;:iriers, finds the most wonderful st.ars .... rieetl1oven embraced the universe 't1ith the power of his spirit .... I do not climb so high. A long ti.me ago I d "··· ided that my uni verse will be the hear: a11d soul of man.l -Chopin Siich were the words written by Ct1opin as he described his m11sical aspirations in a letter to his confidante, Delphine Potacka. The goal expressed by Chopin, although seeming.l.y poetic and idealistic, is as a prciphecy ful- filled when considered in terms of his lifelong co11tr1bu- tion as ~ pianist and composer. As a planist, he produced breatht~king effects with 111~ pure, singing tone, fine legato, and carefully moulded phrai;ing. Hedley staC:es that ''when Chopin vanished from the scene, nothing of l1is art as a piLnist was left; there remained only a legend of his personal, elusive style of playing.•• 2 I Although as a composer Chopin devoted himself mainly I tu tl1c piano, this narrowing of interest resulted in• a --·---------- 1 t'\1Jral1<1n1 Ci1asins, Speaking of~n.ianist:... • • (New Yu1·k: 1\lfrcd ,'\.. !(nupf, Inc., 1953), '· 220. ) -Arthur lledley, Chopi1~ (Lendor:: J. M. Dent & Suns, !,td., L'J74), p. 118. 1 2 sµ<e,_;jQl1zatior. of output rather '::1,lr1 a lim1Lation. l\s "·-= discover,•d a fresh approach to compr1sition, existi~g fcrms were altered and improved. Innovative compositional de- • vices suer as melodic ornamenta~ion, rapid figuration, and use of chromatic harmo11y became st:irlistic features of I ' his works. Hutcheson writes: Chopin's greatest distinction, the quality in which he outpointed all others, lay undoubtedly in the astonishing originality and appropriateness of his writing for the piano. His ev9ry phrase, technical pattern, and ornament sound inevitably proper to the chosen nedium.3 Gillespie praises Chopin as a prominent composer "universally idolized in his own country and ours, who holds the enviable position of being the one whose music is most frequently perfo~.'1Tled. •• 4 Gillespie characterizes the music of Chopin as ''subjective and tinged with melancholy, 11 as an ''expression of the search for the ur1- attainable, 11 and as a representative of a new keyboard style that "fits ideally into nineteenth-century Roman­ ticism. 115 Although the reputation of Chopin as a highly- regarded pianist and composer is presently well-established, sucr1 was not the case during his own lifetime.
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  • Interpreting Tempo and Rubato in Chopin's Music

    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.
  • 8.111327 Bk Cortot EU 13/7/08 22:47 Page 4

    8.111327 Bk Cortot EU 13/7/08 22:47 Page 4

    8.111327 bk Cortot EU 13/7/08 22:47 Page 4 GREAT PIANISTS • ALFRED CORTOT Fryderyk CHOPIN (1810 - 1849) Waldszenen, Op. 82 CHOPIN: Piano Sonata No. 2, Op. 35 Piano Sonata No. 2 in B flat minor, Op. 35 * No. 7. Vogel als Prophet 2:36 “Funeral March” 17:36 Recorded 19th April 1948 1 I. Grave - Doppio movimento 5:25 in EMI Abbey Road Studio No. 3 SCHUMANN: Kinderszenen Op. 15 2 II. Scherzo 4:50 First issued on HMV ALP 1197 3 III. Marche funèbre: Lento 5:42 Matrix no.: 0EA 12922 4 IV. Finale: Presto 1:39 Carnaval, Op. 9 Recorded 7th-8th May 1953 Carnaval, Op. 9 25:29 in EMI Abbey Road Studio No. 3 ( No. 1. Préambule 2:36 RED CORT First issued on RCA Victor LHMV 18 ) No. 2. Pierrot 1:08 LF OT ¡ No. 3. Arlequin 0:43 A Robert SCHUMANN (1810 - 1856) ™ No. 4. Valse noble 1:19 Kinderszenen, Op. 15 17:15 £ 5 No. 5. Eusebius 1:30 No. 1. Von fremden Ländern und Menschen 1:39 ¢ No. 6. Florestan 0:53 (About foreign lands and peoples) – 6 No. 7. Coquette 1:01 No. 2. Curiose Geschichte 0:58 § No. 8. Réplique 0:26 (A curious story) ¶ 7 Sphinx 1-3 0:23 No. 3. Hasche-Mann 0:34 • No. 9. Papillons 0:43 (Catch me if you can) ª 8 No. 10. A.S.C.H. - S.C.H.A. No. 4. Bittendes Kind 0:51 (Lettres dansantes) 0:38 (Pleading child) º 9 No. 11. Chiarina 0:49 No.