Interpreting Chopin: Analysis and Performance

257 Pages·2014·14.77 MB·English

by  Alison Hood

interpreting chopin: analysis and performance
For my parents, Margaret and Ian
In memory of Steve Larson
Interpreting Chopin:
Analysis and Performance
Alison Hood
© Alison Hood 2014
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system
or transmitted in any form or by any means, electronic, mechanical, photocopying, recording
or otherwise without the prior permission of the publisher.
Alison Hood has asserted her right under the Copyright, Designs and Patents Act, 1988, to be
identified as the author of this work.
Published by
Ashgate Publishing Limited Ashgate Publishing Company
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British Library Cataloguing in Publication Data
A catalogue record for this book is available from the British Library
The Library of Congress has cataloged the printed edition as follows:
Hood, Alison (Musician) author.
Interpreting Chopin : Analysis and Performance / by Alison Hood.
pages cm
Includes bibliographical references and index.
ISBN 978-1-4094-5209-6 (hardcover : alk. paper)– ISBN 978-1-4094-5210-2 (ebook) 1. Chopin,
Fryderyk, 1810–1849. Preludes, op. 28. piano, 2. Chopin, Fryderyk, 1810–1849. Nocturnes, op. 48.
piano, 3. Chopin, Fryderyk, 1810–1849. Nocturnes, op. 27. piano, 4. Chopin, Fryderyk, 1810–
1849. Barcarolle, op. 60, piano, F# major. 5. Piano music–Analysis, appreciation. I. Title.
MT145.C5H66 2014
786.2092–dc23
2013031555
ISBN 9781409452096 (hbk)
ISBN 9781409452102 (ebk – PDF)
Bach musicological font developedV by © Yo Tomita
Printed in the United Kingdom by Henry Ling Limited,
at the Dorset Press, Dorchester, DT1 1HD
Contents
List of Tables vii
List of Music Examples ix
Foreword by Robert S. Hatten   xiii
Preface   xvii
Acknowledgements   xix
Introduction   1
part i revealing the hidden dimensions
Introduction 11
1 Rhythm   13
2 ForegroundEmphasis   25
3 StrictUse   29
4 Strategy/Premise   33
5 DialoguewithPerformance   37
Conclusion 47
part ii preludes op. 28
Introduction 51
6 AComparativeReviewofAnalyticalApproaches:
PreludeNo.5   55
7 PhraseStructureandMetricAmbiguity:PreludeNo.12   67
8 TonalandRhythmicHiddenRepetitioninPreludeNo.14   77
9 ContourandFlux:PreludeNo.16   89
10 FigurationinPreludeNo.21   103
11 AmbiguityofTonalMeaning:PreludeNo.22   111
Conclusion 123
vi interpretingchopin:analysisandperformance
part iii nocturnes
Introduction 127
12 SharedCompositionalStrategiesinChopin’sNocturnesOp.48  129
13 Intra-opusConnectionsinChopin’sNocturnesOp.27   163
Conclusion 183
part iv the barcarolle
14 StructuralCouplingintheCodaofChopin’sBarcarolle   187
Conclusion   205
Select Bibliography   217
Index   229
List of Tables
7.1 Summary of the use of rhythmic techniques in Prelude Op. 28,
No. 12 74
7.2 The Urlinie in relation to form in Prelude Op. 28, No. 12 75
8.1 Form and thematic material in Prelude Op. 28, No. 14 85
9.1 Summary of thematic material in Prelude Op. 28, No. 16 101
10.1 Use of G and temporal characteristics in Prelude Op. 28, No. 21 108
12.1 Comparative outlines of Nocturnes Op. 48, Nos. 1 and 2 161
12.2 Temporal relationship between Nocturnes Op. 48, Nos. 1 and 2 161
14.1 John Rink’s formal outline of the Barcarolle Op. 60 188
14.2 Tempo indications in the Barcarolle Op. 60 197
14.3 Tempo relationships in recordings of the Barcarolle Op. 60 197
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List of Music Examples
All preludes and waltzes are © Copyright by Hinrichsen Edition, Peters
Edition Limited, London. Reprinted by kind permission of Peters Edition
Limited, London.
All nocturnes, etudes, mazurkas and the barcarolle are used by kind permission
of Polskie Wydawnictwo Muzyczne S.A., Kraków, Poland.
3.1 Notation used when registers are specified 30
3.2 Voice-leading interpretations of the motto in Prelude Op. 28,
No. 22, 31–4 32
6.1 John Rink’s summary of the form of Prelude Op. 28, No. 5.
John Rink, ‘Authentic Chopin: History, Analysis and Intuition
in Performance’, in John Rink and Jim Samson (eds), Chopin
Studies 2, © Cambridge University Press 1994, reproduced with
permission 58
6.2 Durational reduction and formal pacing of Prelude Op. 28, No. 5 65
7.1 Voice-leading graph of Prelude Op. 28, No. 12 68
7.2 Durational reduction of the middleground of Prelude Op. 28,
No. 12 69
7.3 Prelude Op. 28, No. 12, 17–20, with grouping annotations 70
7.4 Prelude Op. 28, No. 12, 37–40 71
7.5 Prelude Op. 28, No. 12, 57–60, with grouping annotations 71
7.6 Prelude Op. 28, No. 12, 61–5 (first beat) 72
7.7 Prelude Op. 28, No. 12, 65–73, with grouping annotations 73
7.8 Prelude Op. 28, No. 12, 74–81 73
7.9 Durational reduction and formal pacing of Prelude Op. 28,
No. 12 75
8.1 Voice-leading graph of Prelude Op. 28, No. 14 78
8.2 Voice-leading reduction of Prelude Op. 28, No. 14, 5–10 79