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APPENDIXES Appendix I CHRONOLOGICAL SEQUENCE OF PUBLICATION I8I7 Military March (lost) November Polonaise in G minor (republ. I927) June Rondo, Op. I I826 Mazurkas in B fiat and G ( wd versions: republ. I 8 5I) Polonaise in B fiat minor (republ. I 879) I828 February Rondo ala Mazur, Op. 5 I830 January Variations for PF. and Orch., Op. 2 I83J Autumn Introduction and Polonaise, Op. 3 I832 December PF. Trio in G minor, Op. 8 3 Nocturnes, Op. 9 4 Mazurkas, Op. 6 5 Mazurkas, Op. 7 July Etudes, Op. Io PF. Concerto, Op. I I Grand Duo (Robert /e Diable) November Variations (Ludovic), Op. 12 December 3 Nocturnes, Op. 15 I77 APPENDIX I 1834 March Introduction and Rondo, Op. I 6 4 Mazurkas, Op. I 7 April Fantaisie on Polish Airs, Op. I 3 June Waltz, Op. I8 July Rondo, 'Krakowiak', Op. I4 October Bolero, Op. I9 February Scherzo, Op. 20 I836 January 4 Mazurkas, Op. 24 April PF. Concerto, Op. 2 I May 2 Nocturnes, Op. 2 7 June Ballade, Op. 2 3 July 2 Polonaises, Op. 26 August Andante spianato and Polonaise, Op. 22 2 Songs ('Zycenie' and 'Wojak'), pub!. anonymously October Etudes, Op. 2 5 December 4 Mazurkas, Op. 30 Scherzo, Op. 3 1 2 Nocturnes, Op. 3 z I838 October 4 Mazurkas, Op. 3 3 December 3 Waltzes, Op. 34 1839 June Hexameron, Variation in E major Preludes, Op. 28 May Sonata, Op. 3 5 Impromptu, Op. 36 June 2 Nocturnes, Op. 37 Waltz in A flat, Op. 42 September Ballade, Op. 38 October Scherzo, Op. 39 November Trois Nouvelles Etudes CHRONOLOGICAL SEQUENCE OF PUBLICATION 1 79 December 2 Polonaises, Op. 40 4 Mazurkas, Op. 4 I I84I October Mazurka in A minor (Emile Gaillard) Tarantella, Op. 43 November Polonaise, Op. 44 Prelude, Op. 4 5 Allegro de Concert, Op. 46 Ballade, Op. 47 2 Nocturnes, Op. 48 Fantasia in F minor, Op. 49 I842 February Mazurka in A minor (Notre Temps) September 3 Mazurkas, Op. 50 I843 April Impromptu, Op. 5 I November Ballade, Op. 52 Polonaise, Op. 5 3 Scherzo, Op. 54 I844 August 2 Nocturnes, Op. 55 3 Mazurkas, Op. 56 I845 June Berceuse, Op. 57 Sonata, Op. 58 November 3 Mazurkas, Op. 59 1846 October Barcarolle, Op. 6o Polonaise-Fantaisie, Op. 61 2 Nocturnes, Op. 62 I847 October 3 Mazurkas, Op. 63 3 Waltzes, Op. 64 Sonata for PF. and cello, Op. 6 5. G2 B.C. 18o APPENDIX I Posthumous publication: 1851 May 'Schwiezerbub' Variations Sonata, Op. 4 18 52 Deux valses melancoliques (Op. 70: no. 2; Op. 69: no. 2) I855 May Fantaisie-Impromptu, Op. 66 4 Mazurkas, Op. 67 4 Mazurkas, Op. 68 2 Waltzes, Op. 69 3 Waltzes, Op. 70 3 Polonaises, Op. 71 Nocturne, Funeral March, 3 Ecossaises, Op. 72 Rondo for two pianofortes, Op. 7 3 1856 2 songs republ. from 1836, with Chopin's name 1857 16 Polish songs, Op. 74 1859-60 16 songs with German translations 1864 Polonaise in G sharp minor 1868 Waltz in E minor 1870 Polonaise in G flat major Mazurka in C major Song ('Polens Grabgesang'), Op. 74: no. 17 Waltz in E major CHRONOLOGICAL SEQUENCE OF PUBLICATION 181 1875 January Nocturne (Lento con gran espressione) Mazurka in D major (1st version) Mazurkas in B flat and G major (1st versions) 1879 Mazurka in G ('Prague') 188o January Mazurka in D major (znd version) J88J Variations in A major (on a theme by Paganini) Fugue in A minor 1902 Polonaise in A flat (corrupt: 'clean' in 19o8) Waltz in A flat Waltz in E flat Mazurka in A minor (1st version, Op. 7: no. 2) 1909 Mazurka in B flat (A. Wolowska) 1910 February Mazurka ('Mazurek') in D major Song: 'Czary' June Moderato in E major (republ. 1827) ·October Song: 'Dumka' 1918 August Prelude in A flat (Pierre Wolff) 1930 Mazurka in A flat (Celine Szymanowska) 1931 Cantabile in B flat major 1934 Contredanse in G flat major Polonaise in B flat major (republ. 1937) 182 APPENDIX I 1938 Nocturne inC minor Largo in E flat 1954 Rondo ( ISt version of Op. 7 3) 1955 May Waltz in A minor Waltz in E flat 1965 Mazurka in F minor, Op. 68: no. 4 ('clean') Variations in D major, for PF. duet 1968 'Wiosna', arr. for PF. solo 2 Bourrees Appendix II PUBLISHERS OF THE FIRST EDITIONS A. ENGLAND London Wessel & Co.: Opp. I-3, 5-n, I3-64; Notre Temps Mazurka; 'Deux valses melancoliques'; 'Emile Gaillard' Mazurka Cocks.: Op. 4; 'Schweizerbub' Variations Cramer, Addison & Beale: Op. 12; Hexameron Variation Francis, Day & Hunter; Waltz in E flat Stanley Lucas, Weber & Co.: Op. 74· B. FRANCE Paris Maurice Schlesinger: Opp. I, 2, 6-IS, 2o-7, 29-34, 44-56; 'Grand Duo'; Trois Nouvelles Etudes Brandus (successor to Schlesinger): Opp. 59-65 Eugene Troupenas: Opp. 3 5-4I, 43; Notre Temps Mazurka Joseph Meissonnier: Opp. 57, 58 Joseph Meissonnier Fils: Opp. 66-7 3 Adolph Catalan et Cie: Op. 28 A. F. G. Pacini: Op. 42 Prillip et Cie: Op. I9 Simon Richault: Opp. 3, 4; 'Schweizerbub' Variations Schoenenberger: Op. 5 Chahal: 'Emile Gaillard' Mazurka Revue Musicale: Waltz in A minor ]. Hamelle: Op. 74 C. GERMANY AND AUSTRIA Leipzig Breitkopf & Haertel: Opp. 12, I5-I8, 2o-p, 33-42, 46-9, 52-8, 6o-5; Waltzes in A flat and E flat; Mazurka in D major (two versions) Kistner: Opp. 6-II, I3, I4 Peters: Op. 19 Hofmeister: Opp. 5, 51 Mainz B. Schotts Sons: Polonaises in G sharp minor and G flat; Notre Temps Mazurka; Mazurka inC; Waltz in E minor G 183 B.C. APPENDIX I I Berlin A.M. Schlesinger: Opp. I, 32, 66-74; 'Grand Duo'; Trois Nouvelles Etudes. Stern & Co.: Op. 59 Bote & Bock: 'Emile Gaillard' Mazurka Hamburg Schuberth & Co.: Op. 43 Vienna Tobias Haslinger: Op. z; 'Schweizerbub' Variations Pietro Mechetti: Opp. 3, 44, 4 5, 5o D. POLAND. Cracow W. Chaberski: Waltz in E minor ]. Wildt: Deux valses melancoliques Krzyan6wski, S. A. : Polonaises in A flat and B flat Lwow Lamus, I 909: Mazurka in B flat Poznan J. Leitgeber: 'Lento con gran espressione'; Mazurka in D major (Ist version) Warsaw ]. ]. Cybulski: Polonaise in G minor Andrea Brzezina & Co.: Opp. I, 5 R. Friedlein: Mazurkas in B flat and G major Gebethner & Wolff: Mazurka in A flat; Op. 74; Moderato inEmajor ]. Kauffmann: Waltz in E minor; Mazurka in C major; Polonaises in G sharp minor and G flat Echo Muzyczne, I88I: Variations on a theme by Paganini Muzyka, I93 I: Cantabile in B flat major E. SWITZERLAND Geneva Pages d'Art, I9I8: Prelude in A flat major Appendix III COMPLETE EDITIONS The following list is selective; only those complete editions with some claim to have been based on original material have been included. The order is chronological. I. Wessel & Co., London, c. I853 'Wessel & Co. Complete Collection of the Compositions of Frederic Chopin for the Piano-Forte.' (For the 7I items in this collection, see Appendix IV.) The first and most complete of the nineteenth-century editions prior to that ofBreitkopf & Haertel, I878-8o. 2.. Simon Richault, Paris, c. I 86o 'New and cheap Paris edition. The Works of Frederic Chopin.' Edited by Thomas Tellefsen. I2. volumes, excluding the songs. Tellefsen (I82.3-74) was a pupil of Chopin's for a short time. [Schoenenberger, Paris, I86o. Vols zi-2.4 of the publisher's 'Bibliotheque Classique des Pianistes' were devoted to the PF. works of Chopin. They were called 'CEuvres Completes' and were supplied with a biography and analyses by Fetis, but it was not, in fact, a complete collection.] 3· Gebethner, Warsaw, I863 'Frederic Chopin; reuvres pour le piano, edition originale; V arsovie, I 86 3 .' The edition was authorised by the composer's family. There were no songs. It was revised in I877 and published in six volumes by the firm, then Gebethner & Wolff. It contained all the opus numbers up to Op. 73, with the exception of Op. 65, and it was arranged numerically, by opus numbers. The songs were added in I88o. A third edition, edited by Jan Kleczenski and containing various supplementary works, was published in I88z, in ten volumes. I85 I86 APPENDIX I I I 4· P. Jurgenson, Moscow, 1873-6 'Complete Works of Chopin, critically revised after the original French, German and Polish editions by Karl Klindworth.' The edition contains PF. works only, and was in six volumes. Klindworth (183o-1916) was a pupil ofLiszt. 5. Breitkopf & Haertel, Leipzig, 1878-8o 'First critically revised complete edition, edited by Woldemar Bargiel, Johannes Brahms, Auguste Franchomme, Franz Liszt, Carl Reinecke, Ernst Rudorff.' The songs were translated by Hans Schmidt. This was the most complete edition to date, and contained 213 items in 14 volumes. It replaced a slightly earlier, but inferior, 'complete' edition by this firm, edited by Carl Reinecke and called Neue Revidirte Ausgabe, in ten volumes. A supplement, containing the Waltzes in A flat and E flat, and the first version of the A minor Mazurka, Op. 7: no. 2, was added in 1902. 6. F. Kistner, Leipzig, 1879 'Fred. Chopin's Works, revised and fingered (for the most part according to the composer's notes) by Karl Mikuli.' 17 volumes. Mikuli (1821-88) was a pupil of Chopin's from 1844 to 1848; he was assisted in preparing this edition by his fellow-pupil Friederike M iiller-Streicher. 7· C. F. Peters, Leipzig, 1879 'Fr. Chopin's Collected Works.' 12 volumes. This was edited by Hermann Scholtz (d. 1918). He used the auto­ graphs of Op. 7: no. 3, Opp. 28, 48, 5 I and 54, and a sketch of Op.
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  • The Piano Genre of the Nineteenth-Century Polonaise

    The Piano Genre of the Nineteenth-Century Polonaise

    THE PIANO GENRE OF THE NINETEENTH-CENTURY POLONAISE by BARBARA M. SIEMENS B.Mus., The University of British Columbia, 1986 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (School of Music) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April 2002 © Barbara M. Siemens , 2002 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. School of Music The University of British Columbia Vancouver, Canada Date Abstract The polonaise is a genre whose history reaches back over four hundred years. In recent times, the style has come to be characterized by the rhythm found in many nineteenth-century examples in the piano literature. However, while this rhythm is a typical feature in most Romantic samples, the term "typical" becomes problematic when viewing polonaises written in nineteenth-century Poland, as well as in eighteenth-century Germany. In these cases, the above pattern is given a less prominent role and is replaced by other rhythmic features. This dissimilarity between the polonaises of various periods calls into question the validity of labelling a primary characteristic unilaterally "typical." Is it possible to make one statement regarding the basic rhythmic characteristics of a polonaise, or is it more accurate to create definitions which vary according to historical context? The answer lies in an examination of the rhythmic characteristics as they occur, and not as they are thought to occur, throughout the history of the genre.