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مطاردة شوبان : رحلة موسيقية عبر ثلاثة قرون، وأربع دول، ونصف دزينة من الثورات /
لهذا الكتاب جوانب عدة سيكتشفها القارئ بين دفتيه - من عبقرية الموسيقار العظيم فريدريك شوبان التي أنتجت مقطوعات موسيقية رائعة خلدها التاريخ. يركز على المارش الجنائزي الذي اشتهر شوبان بتأليفه، والذي تجلت فيه كعبقريته الفريدة من نوعها في مجال التأليف الموسيقي، ويعرج على علاقة شوبان بالروائية جورج سائد التي ساندته في مسيرته المهنية، والتي كان لها تأثير بالغ في نتاجاته الموسيقية، مع الإشارة إلى التوترات والاضطرابات التي شابت تلك العلاقة، لكن قصة حب شوبان العبقري لوطنه بولندا وتعلقه به تبقى من العلامات المميزة لسيرة حياته. يروي الحكاية بأسلوب رائع، مشيرا إلى طلب شوبان–وهو على سرير الموت- إزالة قلبه ودفنه في بولندا وطنه الأم، إذ هربته أخته مخفية إياه تحت تنورتها. وبعد رحلة طويلة انتقل خلالها إلى أماكن عدة، استقر به المقام في كنيسة الصليب المقدس في وارسو. يروي الكتاب حكاية شوبان مع البيانو، الذي أنتج نحو 230 عملا موسيقيا-أكثرها عزفا منفردا، والذي ابتكر طريقة جديدة للضرب بالأصابع على البيانو متمردا على الطرائق التقليدية. ما كتبه شوبان للبيانو تمتع بشعبية كبيرة ما زالت مستمرة حتى اليوم، بل لعله أكثر مؤلفيه شهرة. كان شوبان بولنديا وطنيا متحمسا للموسيقا الشعبية في وطنه، غير أن قلبه كان يعشق باريس التي قضى فيها معظم سنين حياته.
Encyclopedia
Interpreting Chopin: Analysis and Performance
Music theory is often seen as independent from - even antithetical to - performance. While music theory is an intellectual enterprise, performance requires an intuitive response to the music. But this binary opposition is a false one, which serves neither the theorist nor the performer. In Interpreting Chopin Alison Hood brings her experience as a performer to bear on contemporary analytical models. She combines significant aspects of current analytical approaches and applies that unique synthetic method to selected works by Chopin, casting new light on the composer’s preludes, nocturnes and barcarolle. An extension of Schenkerian analysis, the specific combination of five aspects distinguishes Hood’s method from previous analytical approaches. These five methods are: attention to the rhythms created by pitch events on all structural levels; a detailed accounting of the musical surface; 'strict use' of analytical notation, following guidelines offered by Steve Larson; a continual concern with what have been called 'strategies' or 'premises'; and an exploration of how recorded performances might be viewed in terms of analytical decisions, or might even shape those decisions. Building on the work of such authors as William Rothstein, Carl Schachter and John Rink, Hood’s approach to Chopin’s oeuvre raises interpretive questions of central interest to performers.
Alison Hood is a Lecturer at the National University of Ireland, Maynooth, having previously lectured at Trinity College Dublin and the University of Oregon. She is a professional pianist and cellist. Her research interests lie in the area of analysis and performance, particularly in piano music from the nineteenth century.
Contents: Foreword, Robert S. Hatten; Preface; Introduction. Part I Revealing the Hidden Dimensions: Introduction; Rhythm; Foreground emphasis; Strict use; Strategy/premise; Dialogue with performance; Conclusion. Part II Preludes Op. 28: Introduction; A comparative review of analytical approaches: Prelude No. 5; Phrase structure and metric ambiguity: Prelude No. 12; Tonal and rhythmic hidden repetition in Prelude No. 14; Contour and flux: Prelude No. 16; Figuration in Prelude No. 21; Ambiguity of tonal meaning: Prelude No. 22; Conclusion. Part III Nocturnes: Introduction; Shared compositional strategies in Chopin’s Nocturnes Op. 48; Intra-opus connections in Chopin’s Nocturnes Op. 27; Conclusion. Part IV The Barcarolle: Structural coupling in the coda of Chopin’s Barcarolle. Conclusion; Select bibliography; Index.
eBook
Frédéric Chopin’s telltale heart
The piano works of Frédéric Chopin - one of the greatest composers of the same period - tend more towards the uplifting. But events after his death have puzzled experts for more than a century and are worthy of any horror story. Scientists in Poland now claim to have solved the mystery.
Journal Article
A Comparative Analysis of the Piece “Op. 6 No: 2 Nocturne” by Clara Wieck Schumann, one of the Female Composers of the Romantic Period, with the Nocturnes of Frederic François Chopin
This study includes a comparative analysis of the composition titled \"Op.6 No.2 Nocturne\" by Clara Wieck Schumann, a female composer from the Romantic era, with the nocturnes of Frederic François Chopin. The purpose of this research is to determine the similarities and differences between Clara Wieck Schumann's aforementioned work and the works of Frederic François Chopin, who is an important male composer of the same period, in the same form. In this study, firstly a literature review was conducted. Then, in line with the purpose of the research, a comparison of Clara Wieck Schumann's composition titled \"Op.6 No:2 Nocturne\" with Frederic François Chopin's compositions titled \"Op.27 No:2 Nocturne\" and \"Op.9 No:2 Nocturne\" was carried out using harmonic, form and style analysis methods. When examining the harmonic analysis of the compositions, including accompaniment and chord styles, ornaments, rhythmic structures, and stylistic features, it is observed that they exhibit a similar emotion and style. Accordingly, it can be inferred that Clara Wieck Schumann was influenced by Frederic François Chopin in her composition. The conducted analysis is of importance not only in determining the similarities and the differences between the works of both composers, but also in terms of increasing the visibility of female composers in the music world.
Journal Article
Chopin and George Sand: An International Affair
Huneker talks about Frederic Chopin and his relationship with George Sand. Chopin, a neurotic being, met the polyandrous Sand, a trampler on all the social and ethical conventions, albeit a woman of great gifts; repelled at first he gave way before the ardent passion she manifested towards him. She was his elder, so could veil the situation with the maternal mask, and she was the stronger intellect, more celebrated--Chopin was but a pianist in the eyes of the many--and so won by her magnetism the man she desired. Chopin may be fairly called a moralist. Carefully reared in the Roman Catholic religion, he died confessing that faith. With the exception of the Sand episode, his life was not an irregular one. He abhorred the vulgar and tried to conceal this infatuation from his parents. Chopin met Sand at a musical matinée in 1837. Sand was antipathetic to Chopin but her technique for overcoming masculine coyness was as remarkable in its particular fashion as Chopin's proficiency at the keyboard. They were soon seen together, and everywhere. She was not musical, not a trained musician, but her appreciation for all art forms was highly sympathetic.
Journal Article
Sonata Fragments
InSonata Fragments, Andrew Davis argues that the Romantic sonata is firmly rooted, both formally and expressively, in its Classical forebears, using Classical conventions in order to convey a broad constellation of Romantic aesthetic values. This claim runs contrary to conventional theories of the Romantic sonata that place this nineteenth-century musical form squarely outside inherited Classical sonata procedures. Building on Sonata Theory, Davis examines moments of fracture and fragmentation that disrupt the cohesive and linear temporality in piano sonatas by Chopin, Brahms, and Schumann. These disruptions in the sonata form are a narrative technique that signify temporal shifts during which we move from the outer action to the inner thoughts of a musical agent, or we move from the story as it unfolds to a flashback or flash-forward. Through an interpretation of Romantic sonatas as temporally multi-dimensional works in which portions of the music in any given piece can lie inside or outside of what Sonata Theory would define as the sonata-space proper, Davis reads into these ruptures a narrative of expressive features that mark these sonatas as uniquely Romantic.
eBook
Ars Longa, Vita Brevis
[...]the definitive cause of Chopin’s death has remained speculative. Given that the composer’s sister had died with a similar respiratory affliction, a genetic condition has been proposed as an alternative, the most popular being cystic fibrosis, with its autosomal recessive inheritance pattern. Not surprisingly, their assessment was that Chopin had “a serious fibrinoid epicarditis embodied by foci of epicardial hyalinization in the left ventricular front wall and with dilatation, mainly of the right ventricle and right atrium (cor pulmonale) with pronounced features of chronic heart failure, predominantly of the right ventricle,” consistent with end-stage constrictive pericarditis with fibrosis, and “several glossy, whitish-pearl nodules, slightly protruding from the surface of the myocardium,” consistent with myocardial tuberculomas. The bronzes made from the hand casts do not show clubbed fingers—thickening of the distal phalanges caused by hypoxia, characteristic of pulmonary cystic fibrosis.
Journal Article