Chopin:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
London ; New York
Routledge
2017
|
| Schriftenreihe: | The early romantic composers
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | xi, 579 Seiten Illustrationen, Notenbeispiele, Portraits |
| ISBN: | 9781472440488 |
Internformat
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Datensatz im Suchindex
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| adam_text | Contents
Acknowledgements ix
Series Preface xiii
Introduction 1
Part I: Historical perspectives
1. Jolanta T. Pekacz, ‘The nation’s property: Chopin’s biography as a cultural
discourse’, in Jolanta T. Pekacz (ed.), Musical Biography: Towards New
Paradigms (Aldershot: Ashgate, 2006), pp. 43-68 17
2. Józef Chomiński, ‘Die Evolution des Chopinschen Stils’, in Zofia Lissa (ed.),
The Book of the First International Musicological Congress Devoted to the
Works of Frederick Chopin (Warsaw: Państwowe Wydawnictwo Naukowe,
1963), pp. 44-52 43
3. Mieczysław Tomaszewski, ‘Chopin’s inspiration from Polish “common
song’”, in Artur Szklener (ed.), Chopin s Work: His Inspirations and Creative
Process in the Light of the Sources (Warsaw: Narodowy Instytut Fryderyka
Chopina), pp. 43-53 55
4. Barbara Milewski, ‘Chopin’s mazurkas and the myth of the folk’,
19th-Century Music 23/2 (1999), pp. 113-135 67
5. Ludwik Bronarski, ‘La “dernière” mazurka de Chopin’, in Ludwik
Bronarski, Etudes sur Chopin (Lausanne: Editions La Concorde, 1944),
pp. 165-175 91
6. Karol Berger, ‘Chopin’s Ballade Op. 23 and the revolution of the
intellectuals’, in John Rink and Jim Samson (eds.), Chopin Studies 2
(Cambridge: Cambridge University Press, 1994), pp. 72-83 103
7. Anselm Gerhard, ‘Ballade und Drama’, Archiv für Musikwissenschaft 48
(1991), pp. 110-125 115
8. James W. Davison, An Essay on the Works of Frederic Chopin (London:
Wessel Co. [1843]) 131
VI
CHOPIN
Part II: Source studies
9. John Rink, Playing with the Chopin sources’, in Irena Poniatowska (ed.),
Jan Ekier: artysta stulecia w darze Chopinowi (Warsaw: Narodowy Instytut
Fryderyka Chopina, 2013), pp. 171-185 151
10. Wojciech Nowik, The receptive-informational role of Chopin’s musical
autographs’, in Dariusz Żębrowski (ed.), Studies in Chopin (Warsaw:
Towarzystwo im. Fryderyka Chopina, 1973), pp. 77-89 167
11. Jeffrey Kallberg, Chopin and the aesthetic of the sketch: a new Prelude in
E-flat minor?’, Early Music 29 (2001), pp. 408-422 181
12. Jan Ekier, On questions relating to the chronology of Chopin’s works.
Methods. A few examples concerning compositions from the last period’,
in Artur Szklener (ed.), Chopin s Musical Worlds: The 1840s (Warsaw:
Narodowy Instytut Fryderyka Chopina, 2008), pp. 169-188 197
13. Charles Rosen, ‘The first movement of Chopin’s Sonata in B-flat minor,
Op. 35’, 19th-Century Music 14/1 (1990), pp. 60-66 217
14. Maurice J. E. Brown, The posthumous publication of Chopin’s songs’,
Musical Quarterly 42 (1956), pp. 51-65 225
15. Christophe Grabowski, ‘Wessel’s Complete Collection of the Compositions of
Frederic Chopin: the history of a title-page’, Early Music 29 (2001),
pp. 424-433 241
Part III: Performance studies
16. Dana Gooley, Between esprit and génie - Chopin in the field of
performance’, in Artur Szklener (ed.), Chopin s Musical Worlds: The 1840s
(Warsaw: Narodowy Instytut Fryderyka Chopina, 2008), pp. 141-156 253
17. James Methuen-Campbell, Chopin Playing from the Composer to the Present
Day (London: Gollancz, 1981): Chapter 1, The playing of Chopin and his
contemporaries’, pp. 26-44 269
18. David Rowland, Chopin’s tempo rubato in context’, in John Rink and
Jim Samson (eds.), Chopin Studies 2 (Cambridge: Cambridge University
Press, 1994), pp. 199-213 289
19. Thomas Higgins, ‘Tempo and character in Chopin’, Musical Quarterly 59
(1973), pp. 106-120 305
20. Sandra Rosenblum, ‘Some enigmas of Chopin’s pedal indications: what do
the sources tell us?’, Journal of Musicological Research 16 (1996), pp. 41-61 321
CHOPIN Vil
21. Nicholas Cook, ‘Performance analysis and Chopin’s mazurkas’, in Artur
Szklener (ed.), Chopin in Paris: The 1830s (Warsaw: Narodowy Instytut
Fryderyka Chopina, 2008), pp. 121-141 343
Part IV: Analysis, aesthetics, reception
22. Jim Samson, ‘Chopin and genre’, Music Analysis 8/3 (1989), pp. 213-231 367
23. Zofia Chechlińska, ‘Scherzo as a genre ֊ selected problems’, Chopin Studies,
vol. 5 (Warsaw: Towarzystwo im. Fryderyka Chopina, 1995), pp. 165-173 387
24. John Rink, ‘Chopin’s ballades and the dialectic: analysis in historical
perspective’, Music Analysis 13 (1994), pp. 99-115 397
25. Donald Francis Tovey, Essays in Musical Analysis, 6 vols. (London: Oxford
University Press, 1936): ‘Concertos’, vol. 3, pp. 103-106 415
26. Felix Salzer, ‘Chopin’s Etude in F major, Opus 25, No. 3’, in The Music
Forum, vol. 3 (New York: Columbia University Press, 1973), pp. 281-290 419
27. Gastone Belotti, ‘L’asimmetria ritmica nella mazurca chopiniana’, Nuova
Rivista Musicale Italiana 5/4—5 (1971), pp. 657-668, 827-846 429
28. William Rothstein, ‘Phrase rhythm in Chopin’s nocturnes and mazurkas’, in
Jim Samson (ed.), Chopin Studies (Cambridge: Cambridge University Press,
1988), pp. 115-141 461
29. Jean-Jacques Eigeldinger, ‘Chopin and “La note bleue”: an interpretation of
the Prelude Op. 45’, Music Letters 78/2 (1997), pp. 233-253 489
30. Lawrence Kramer, ‘Romantic meaning in Chopin’s Prelude in A minor’,
19th-Century Music 9/2 (1985), pp. 145-155 511
31. Rose Rosengård Subotnik, ‘On grounding Chopin’, in Richard Leppert
and Susan McClary (eds.), Music and Society: The Politics of Composition,
Performance and Reception (Cambridge: Cambridge University Press, 1987),
pp. 105-131 523
Part V: Epilogue
32. Frederick Niecks, Frederick Chopin as a Man and Musician, 3rd edn, 2 vols.
(London: Novello, Ewer and Co., 1902): ‘Epilogue’, vol. 2, pp. 328-333 553
Index
559
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| illustrated | Illustrated |
| indexdate | 2024-07-10T07:46:40Z |
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| isbn | 9781472440488 |
| language | English |
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