Chopin (Hardcover, New ed)

Historical perspectives 1. Jolanta T. Pekacz, ‘The nation’s property: Chopin's biography as a cultural discourse’, in idem (ed.), Musical Biography: Towards New Paradigms (Aldershot: Ashgate, 2006), pp. 43?67. 2. Jozef Chomi?ski, 1963: ‘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: Pa?stwowe Wydawnictwo Naukowe, 1963), pp. 44?52. 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. 4. Barbara Milewski, ‘Chopin’s mazurkas and the myth of the folk’, 19th-Century Music 23/2 (1999), pp. 113?35. 5. Ludwik Bronarski, ‘La "derniere" mazurka de Chopin’, in idem, Etudes sur Chopin (Lausanne: Editions La Concorde, 1944), pp. 165?75. 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. 7.Anselm Gerhard, ‘Ballade und Drama’, Archiv fur Musikwissenschaft 48 (1991), pp. 110?25. 8. James W. Davison, An Essay on the Works of Frederic Chopin (London: Wessel & Co., [1843]) Source studies 9. John Rink, ‘Playing with the Chopin sources’, in Irena Poniatowksa (ed.), Jan Ekier: artysta stulecia w darze Chopinowi (Warsaw: Narodowy Instytut Fryderyka Chopina, 2013), pp. 171?85. 10. Wojciech Nowik, ‘The receptive-informational role of Chopin’s musical autographs’, in Dariusz ??browski (ed.), Studies in Chopin (Warsaw: Towarzystwo im. Fryderyka Chopina, 1973), pp. 77?89. 11.Jeffrey Kallberg, ‘Chopin and the aesthetic of the sketch: a new Prelude in E-flat minor?’, Early Music 29 (2001), pp. 408?22. 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 1840’s (Warsaw: Narodowy Instytut Fryderyka Chopina, 2008), pp. 169?88. 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. 14. Maurice J. E. Brown, ‘The posthumous publication of Chopin’s Songs’, Musical Quarterly 42 (1956), pp. 51?65. 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?33. Performance studies 16. Dana Gooley, ‘Between esprit and genie ? Chopin in the field of performance’, in Artur Szklener (ed.), Chopin’s Musical Worlds: The 1840’s (Warsaw: Narodowy Instytut Fryderyka Chopina, 2008), pp. 141?56. 17. Jean-Jacques Eigeldinger, ‘Chopin and Pleyel’, Early Music 29 (2001), pp. 389?96. 18. 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. 19. David Rowland, ‘Chopin’s tempo rubato in context’, in Artur Szklener (ed.), in John Rink and Jim Samson (eds.), Chopin Studies 2 (Cambridge: Cambridge University Press, 1994), pp. 199?213. 20. Thomas Higgins, ‘Tempo and character in Chopin’, Musical Quarterly 59 (1973), pp. 106?20. 21. Sandra Rosenblum, ‘Some enigmas of Chopin’s pedal indications: what do the sources tell us?’, Journal of Musicological Research 16 (1996), pp. 41?61. 22. Nicholas Cook, ‘Performance analysis and Chopin’s Mazurkas’, in Artur Szklener (ed.), Chopin in Paris: The 1830’s (Warsaw: Narodowy Instytut Fryderyka Chopina, 2008), pp. 121?41. Analysis, aesthetics, reception 23. Jim Samson, ‘Chopin and genre’, Music Analysis 8/3 (1989), pp. 213?31. 24. Zofia Chechli?ska, ‘Scherzo as a genre ? selected problems’, Chopin Studies, volume 5 (Warsaw: Towarzystwo im. Fryderyka Chopina, 1995), pp. 165?73. 25. John Rink, ‘Chopin’s ballades and the dialectic: analysis in historical perspective’, Music Analysis 13 (1994), pp. 99?115. 26. Donald Francis Tovey, Essays in Musical Analysis, 6 vols. (London: Oxford University Press, 1936): ‘Concertos’, volume 3, pp. 103?6. 27. Felix Salzer, ‘Chopin’s Etude in F major, Opus 25, No. 3’, in The Music Forum, volume 3 (New York: Columbia University Press, 1973), pp. 281?90. 28. Gastone Belotti, ‘L’asimmetria ritmica nella mazurca chopiniana’, Nuova Rivista Musicale Italiana, 5/4?5 (1971), 657?668, pp. 827?846. 29. William Rothstein, ‘Phrase rhythm in Chopin’s nocturnes and mazurkas’, in Jim Samson (ed.), Chopin Studies (Cambridge: Cambridge University Press, 1988), pp. 115?41. 30. Jean-Jacques Eigeldinger, ‘Chopin and "La note bleue": an interpretation of the Prelude Op. 45’, Music & Letters 78/2 (1997), pp. 233?53. 31. Lawrence Kramer, ‘Romantic meaning in Chopin’s Prelude in A minor’, 19th-Century Music 9/2 (1985), pp. 145?55. 32. Rose Rosengard 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?31. Epilogue 33. Frederick Niecks, Frederick Chopin as a Man and Musician, 3rd edn, 2 vols. (London: Novello, Ewer and Co., 1902): ‘Epilogue’, volume 2, pp. 328?33.