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Performance Practices in Chopins Piano Sonatas, Op. 35 and 58

Annabelle Paetsch

ISBN 10: 363921367X / ISBN 13: 9783639213676
Published by VDM Verlag
New Condition: New Soft cover
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256 pages. Dimensions: 8.7in. x 5.9in. x 0.6in.How might the piano sonatas of Frederic Chopin (1810-1849) have been performed in his lifetime and in the following decades How flexible was Chopins conception of his works What evidence do we have of how customs may have changed during the nineteenth and early twentieth centuries What would rubato have meant to Chopin and his students This book, based on the authors doctoral dissertation, examines a broad array of documentary evidence to seek answers to such questions. One finding is that Chopins sonatas would, in all probability, have been characterized by a wide range of practices, including those derived from earlier keyboard music and singing. These practices may, at times, seem anomalous in comparison to those associated with Chopin in accounts dating from the latter part of the nineteenth century. This book is especially recommended for pianists and piano teachers, particularly those interested in historically informed approaches. This item ships from multiple locations. Your book may arrive from Roseburg,OR, La Vergne,TN. Bookseller Inventory # 9783639213676

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Title: Performance Practices in Chopins Piano ...

Publisher: VDM Verlag

Binding: Paperback

Book Condition:New

Book Type: Paperback

About this title

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How might the piano sonatas of Frederic Chopin (1810-1849) have been performed in his lifetime and in the following decades? How flexible was Chopin's conception of his works? What evidence do we have of how customs may have changed during the nineteenth and early twentieth centuries? What would "rubato" have meant to Chopin and his students? This book, based on the author's doctoral dissertation, examines a broad array of documentary evidence to seek answers to such questions. One finding is that Chopin's sonatas would, in all probability, have been characterized by a wide range of practices, including those derived from earlier keyboard music and singing. These practices may, at times, seem anomalous in comparison to those associated with Chopin in accounts dating from the latter part of the nineteenth century. This book is especially recommended for pianists and piano teachers, particularly those interested in historically informed approaches.

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