stylistic analysis of the e minor - digital...
TRANSCRIPT
I /[IC, /,( j7
STYLISTIC ANALYSIS OF THE
CHOPIN E MINOR CONCERTO
I THESIS
Presented to the Graduate Council of the North
Texas State Teachers College in Partial
Fulfillment of the Requirements
For the Degree of
MASTER OF MUSIC
By
Anna Marie Carmignani, B. S.
Denton, Texas
August, 1947
151918
151918
TABLE OF CONTENTS
PageLIST OF TABLES . . . . . . . . . . . . . . . . . . . . Pg
LIST OF ILLUSTRATIONS . .. . ... .*.** v
ChapterI. INTRODUCTION . . .......... . .
Statement of ProblemReasons for StudySpecial Considerations of the PeriodThe Significance of the ConcertoProcedurePresentation
II. HARMONY . - . . - . * . .a . . . . . . . . . 6
Types of ChordsChord ProgressionsCadencesBasis of Harmonic TextureModulationHarmonic Rhythm
III. MELODY . .6. .0. 0. 0. . .0 . .a.- .0 .0. . 41
Influences on Melodic StyleMelodic Style of Each MovementInfluences on Melodic Embellishments
IV. FORM . , 0 - , , - , - - 0 0 a - 0 # - 0 - . . 58
Balance and ContrastBasic Structural PlansOrchestration
V. PIANISTIC IDIOM - - - . - . . . . . . . . . . 68
VI. CONCLUSIONS . . - . . . . . - - - . . . . . . 75
BIBLIOGRAPHY 0 0 0 -0 -0-0-0-0-6 0 . 0.9.0. .a.9.0.0. 76
iii
LIST OF TABLES
Table Page
1. Types and Frequency of Altered Chords . . . . . 8
2. An Outline of the Themes and Key Schemeof the First Movement ...... . .... 61
3. The Outline of Themes and Key Scheme ofthe Second Movement . . . . . . . . . . . . . 63
4. An Outline of the Themes and Key Schemeof the Third Movement . . . . . . . . . . . . 66
iv
LIST OF ILLUSTRATIONS
Figure Page
1. The Use of the III-II Chord Progression . . . . . 9
2. The Use of the II-VI Chord Progression . . . . . 10
3. The Use of the IV-VII Chord Progression . . . . . 11
4. The Use of the V-II Progression to Prolongthe Cadence - . . . . . . . . . . . . . . . . . 12
5. The Use of the V-I Progression to Prolongthe Cadence . * ' * * - * * * - - - * * - * . * 13
6. The Use of the Dominant in SequentialPatterns as the Modulatory Chord . . . . . . . 14
7. The Combination of Melodic and HarmonicStructure Through Thematic Repetitionin Different Keys . . * . . . . . - - . * * * . 15
8. A Series of Progressions Moving DiatonicallyDownward . . . . . . 0 a - - - . . . . . . . . 16
9. Upward Parallel Motion of Choral Progressions . . 17
10. The Use of the Phrygian Cadence . . . . . . . . . 18
11. Successive Series of Dominants Over Pedal-Point . 20
12. Resolution of the Non-harmonic in a ChangedTone Harmony -
. . . . . . . . . . . . . . . . 21
13. The Use of Diminished Seventh Chords for aSpecial Shimmering Harmonic Effect . . . . . . 22
14. The Use of the Appoggiatura to Disguise theHarmony . . . * * . * - * . * . . . . . . . . 23
15. The Interchanging of Harmonic Tones WithNon-harmonic Tones - - - - - - - . . . . . . . 24
V
Figure Page
16. The Use of Double Appoggiatura to Resolvethe Non-harmonic Tones ..-. . . . . . . . . . 25
17. The Use of the Suspension to Disguise Tonality . 26
18. Imitation of an Appoggiatura in the Bass bythe Soprano . . . . . . . . . . . . . . . . . 27
19. The Use of Decorated Triads and Seventh Chordsto Give a Simple Effect . ... .. *.* . . .28
20. The Use of Phrase Modulation with AugmentedSixth Chord as the Modulatory Chord . . . . . 30
21. Unresolved Modulations in Sequence . . . . . . . 31
22. The Process of Suggesting a Certain Key andResolving to Another. . . .* - ... .* -- . -32
23. The Use of Melodic Modulation . . . . . . . . . 33
24. Parallelism Between the Melodic Rhythm,Accompaniment Rhythm, and Harmonic Rhythm . . 34
25. Another Example of Parallelism Between theThree Rhythms . . . . . . . . . - .* * . . * 35
26. The Constant Harmonic Rhythm in the TrebleClef and Embellishments in the Bass . . . . . 36
27. Identical Rhythms Between Soprano and BassRhythms in the First Movement . . . . . . . . 37
28. Independence of the Three Rhythmic Elements inthe Second Theme of the First Movement . . . . 38
29. Independence of the Three Rhythmic Elements inthe Second Movement . . - - g- ...*.. - - -* . 39
30. The Principle of Less Frequent HarmonicChanges in a Fast Tempo*-a- . . . ... .*. . 40
31. The Scale Passage Following the Main Motivein the First Movement . .*.***.*.*. . . .. 0 44
32. The Main Theme of the First Movement . - - - - . 4533. Sequential Treatment of the Phrase . . . . . . . 46
vi
Figure Page
34. The Use of Suspensions and Non-harmonicTones in the Main Theme . . . . . . . . . . . . 47
35. Insertion of a Melody Within Passage Work .... 48
36. The Use of Appoggiaturas in the Melodic Line . . 49
37. The Main Theme of the Second Movement - - - . . 50
38. Melody in Thirds . . . . . - . . . - . . . - .* 51
39. Melody in Sixths .. '.-.*.- * 52
40. Melody in Octaves . .- *-- -. *.- -52
41. The Second Theme of the Second Movement . . . . . 53
42. The Main Theme in the Orchestral Part in theRecapitulation . . * . - . . . * - - - . - . . 54
43. The Main Theme of the Third Movement - . .. . . 55
44. The Second Theme of the Third Movement - - .. . 56
45. The Etude Style in the First Movement . . . . . . 62
46. The Use of Changing Harmonies in the MainTonality . . . . . . . . . . . . . . . . . . 69
47. The Combination of Sustained Chords and TwoOctave Passage Work . - * . . - . . . . . 70
48. Long Leaps in the Melodic Line . . . . . . . . . 71
49. Example of Broken Chords in Diatonic andChromatic Progressions . * . - - - * . . . . . 72
50. Doubled Notes Interchanged with Scale Passages . 73
51. Doubled Notes Interchanged with Single Notes . . 73
52. The Use of Doubled Notes in the First Movement inthe Same Manner . . . 0 0 4 0 . 0 . . . . . 0 * 74
vii
CHAPTER I
INTRODUCTION
Statement of Problem
In studying the Concerto in e Minor, by Frederic
Chopin, the author wishes to show, through a stylistic
analysis, the characteristic features of the composer's
style and, in turn, to show the extent to which this work
is a product of its era.
Reasons for Study
Both of the Chopin concertos are the earliest of his
works to be found in the ordinary piano repertoire, and they
possess the direct influences and inherited traits of the
composer. Since he did no more orchestral work after com-
pleting these two works, it is evident that he thought onlyin terms of pianistic expression.
Probably one of the reasons for Chopin's ineffective-
ness as an orchestral writer is due to his inability to con-form to the classical form: sonata allegro. The e minorconcerto is representative of his treatment of the larger
forms.
Analyzing the elements of an early work of the composerreveals the degree of maturity in individual traits.
1
2
Elements of basic chord structure and use of harmony, mel-
odic characteristics, and pianistic expression mark the
style of a composer. This concerto demonstrates the be-
ginning of chromatic harmony in his time and in his own
writing; it contains melodic beauty and pianistic features
which make it acceptable in standard concerto repertoire
in spite of its many defects.
Special Considerations of the Period
Just as any creative artist is influenced by the ideas of
his time, Chopin's compositions were conditioned by the
general culture of his epoch. National patriotic feelings
of artists instead of the cosmopolitan spirit manifest them-
selves through the use of folk lore and folk song. Unlike
the classical composers who rarely employed folk material,
his melodic material is basically Polish; however, his
French, German, and Italian traits distract from the pure
Polish flavor.
The ideal of the romantic movement was to unite the
technique of painting with music. Newer concepts of paint-
ing were to make finer gradations through light and dark
shades, and color was being achieved in music through re-
finement of harmony and orchestration. Chopin's contribut-
ion to this is evident in his innovation of chromatic har-
mony which is the beginning of impressionistic music.
3
Major and minor tonalities are lessened by frequent use of
chromatic progressions and by varying cadences and modu-
lations from one key to another. The chief aim is to dis-
guise the tonality, subjecting it to the picturesque effect
of the whole. Tn an effort to express the wishes and aims
of the romantic mind all devices in music were subordinated
to the new meaning. Dynamics and rhythm, tempo rubato,
agogic signs, sudden accents, crescendos, and diminuendo,
sudden changes in tempo, enhanced the distinction between
fine shades of colors, light and dark.
Because of the romantic composer's attraction to the
new sustaining power of the keyboard instrument that could
make different color effects, music of this era was written
more abundantly for the piano. However, the structure of
the compositions was loose and short. Such compositions
played on the emotions of the listener, disregarding intel-
lectual understanding and implications. The composer has aninspiration, and when his idea is brought forth, the mood is
over. The grouping together of sections and melodies, as
Chopin does in this concerto, explains the preference for
shorter forms.
The Significance of the Concerto
Chopin dedicated this concerto to Frederic Kalkbrenner,a famous pianist-composer of this era.
Although Hummel was Chopin's model regarding structure
4
and character of movements, the individuality of the com-
poser remains.
On April 10, 1830, he writes about his concerto:
The rondo for my concerto is not yet finishedbecause the right inspired mood has always been wanting.If I have only the allegro and adagio completely fin-ished, I shall be without anxiety about the finale.The adagio is in E major and of a romantic, calm, andpartly melancholy character. It is intended to conveythe impression which one receives when the eye restson a beloved landscape that calls up in one's soulbeautiful memories -- for instance, on a fine moonlitspring night, I have written violins with mutes as anaccompaniment to it. I wonder if that will have agood effect? Well, time will show.1
This is an early work that demonstrates Chopin's key-
board writing and it is his most satisfactory composition
of this type. The f minor concerto was composed first, but
was published last, therefore, it was numbered as the
second. Both concertos were intended for large concert
halls in order to acquaint him with the public. After he had
made his appearances in the halls, he decided the public did
not appreciate nor understand serious music. Hence, he be-
came famous as a salon artist in which the selected minority
made up the audience.
ProcedureTWhen beginning the study of this subject, a bibliography
was collected in order to obtain a general knowledge of the
1M. Karasowski, Frederic Chopin His Life and Letters,ppD. 132-133.
5
composer s life and environment to serve as a background for
interpreting the work. Conclusions about harmonic structure
and progressions, modulations, etc. were determined by an
analysis of each of the following factors: harmony, melody,
form, and pianistic idiom.
Presentation
The following chapters are arranged so that each is de-
voted to a stylistic element. Within the chapters, subdiv-
isions and illustrations are presented for the purpose of
clarifying the subject.
Harmonic symbols are conventional. The usual Roman
nuxrierals indicate the harmony, as I for tonic; small letters
signify minor mode, and capital letters the major mode.
Altered tones are shown by the raised or flattened degree of
the scale beneath the note with a sharp (#) or flat (b)
before the number, as: 117.#4
CHAPTER II
HARMONY
Types of Chords
In listening to Chopin one imagines he hears new har-
monies but upon analyzing one finds the harmonic structure
composed of simple triads and seventh chords gracefully
decorated. Even though a veil is thrown over the real
chord, creating an illusion, upon close inspection the har-
monic structure can be narrowed down to its simplest
harmonic basis. Edgar Stillman K\elley gives an invaluable
explanation for the composer's necessity of selecting dis-
tinct harmonies in expressing varied emotions:
In the treatment of child-like and naive subjectselemental and primitive emotions and conditions, naughtis so fitting as triads, major and minor, with fewinversions. More involved and intricate dramatic sit-uations demand a more elaborate range of harmonies(chords of the seventh, ninth, etc. with their variousinversions); while in the most tragic scenes thefluctuating stream of chromatic harmony, involving theelement of rapid modulation, is not only justifiablyemployed but positively demanded.1
Thus, the use of major and minor triads and their inversions,forms Chopin's chord structure and deviates from this found-
ation by employing seventh and ninth chords and their
l dgar Stillman Kelley, Chopin the Composer, p. 169.
6
7
inversions.
In order to obtain variety and color, frequent alter-
ations of certain scale steps occur. The repeated appear-
ance of the sharpened fourth degree of the scale illustrates
Chopin's indebtedness to Polish folk music. This alteration
is usually found in chords built on the second and fourth
step of the scale, such as 11 7, II 7, IV 7, IV 7 in the#4 #4#6 #4 #4#6minor mode and 1I 7, I 7, IV 7, IV 7 in the major mode.#4 #2#4,2i#4
The sharpened sixth step occurs on the submediant scaledegree besides appearing in combination with the sharpened
fourth as in the list above.
In the major mode, triads on the flattened supertonic
and flattened submediant are favorites of 19th century com-
posers. Mixed chords as sharpened fourth and flattened
sixth (so-called Italian sixth) are found quite often.
Besides the augmented sixth chord alterations, raisingand lowering of the third and seventh step of the scale isvery common. A specialty of Chopin's is to make the domin-ant appear minor in the minor mode which is achieved, ofcourse, by lowering the seventh of the scale. Throughout
this concerto, however, the composer combines the two alter-ations lowering third in major mode and raising the thirdin minor mode. This device is a means of obscuring the
tonality.
TABLE 1TYPES AND FREQUENCY OF ALTERED CHORDS
Chords Frequency Chords Frequencyminor mode major mode
#4 15 117#4
117 117#4#6 9 #2#4 10III11#5 b2b6IV71iv7#410 #4 15IV7#4#6 8 #4b6b3 6
Among the rare alterations is the sharpened fifth whichusually occurs in the chord built on the mediant; the domin-
ant ninth and the dominant ninth incomplete are also un-common. The secondary sevenths and ninths are oftener inthe first inversion as added sixths.
Chord Progressions
The conventional 19th century harmonic patterns are thebasis for Chopin's chordal movement. Tonic to dominant andback to tonic controls the harmonic feeling of the wholestructure. Deviation from this is the supertonic feelingwhich usually acts as an embellishment of the dominantchord. The most frequent progressions found in this con-certo are: I-V; I-IV; I-IT; 1-VII; TI-V; TVI;I
V-TV; V-II; VI-II; VT-T; VI-V; VII-VI. Of the unusual
9
progressions found are: III-II II-VII; yV-VII;V-I it
is customary for III to move to IV or VI, seldom to V. Note
the movement of III-II in these measures:
W I
ILg
Fig. l.--The use of the III-II chord progression
An unusual progression of the II c an be cited in thefollowing example. The II usually progresses to V or I but
seldom to VI.
10
8*
012
on L
Fig. 2.--The use of the II-VI chord progression
IV conventionally progresses to V or I with the ex-
ception of III or VI. Chopin has made use of IV-VII
progression.
11
Fig. 3.--The use ot the IV-VII chord progression
The more infrequent progressions of the dominant v-IIis employed as much as 7.-TV in this concerto, especially inextending the key. The tossing back and forth from V to IIheightens the cadence.
r-
r
Fig. 4.--The use or the V-Il progression toprolong the cadence.
The employment of the extensively used chord (V-I) inChopin is far from being monotonous. In an effort to pro-
long the final cadence, the passage is made up of a series
of prolonged cadences, alternating V with I.
4&lr7 A iiK?3if 11 -- ;j
An
Iv- -
I
A!7-Wye w
If - Ili WR
Aj All
--------------
I nap V7
blH II
ALIA* IMI
Oita
AL7
mw.
U --
Fig 5.-TeAue f te AIskogeAIonph oprWn hecdne
saw,
Elul- Ah itPrv w jAMNET
woo
Orr It Vi
jw
.7
I
14
Using the sequential pattern for the purpose of modu-
lating, the dominant of the new key with the necessary
alterations acts as the common chord. Chopin frequently
used this device for variety before returning to the orig-
inal key.
yII
Fig. 6 .-- The use of the dominant in sequentialpatterns as the modulatory chord.
15
In the last movement Chopin has combined the melodic
and harmonic structure by repeating the theme in different
keys but retaining the same harmonic background. Thesecondary theme begins in a major with the following chordbackground: I IV; I VI-I; V I. Then in B minor the same
#4structure as is illustrated below.
Fig. 7.--The combination of melodic and harmonicstructure through thematic repetition in differentkeys.
16
A common device used to give a brilliant effect is a
series of progressions moving diatonically downward over
a pedal tone.
xiS
-973 V777--r
[LrJ~~ 9~407
_ r VFi. ~ -A sres o rorsI onLoigIitn
icaly ownard
Now~bI-...--
NJ.
4
- w
I
I
IVA,&son 400.wl
A-0
aaAh up
i
17
To add vagueness to the harmonic background of the
ending passage of the development, the chords move in par-
allel motion upward.
m_____________- N now"I
0
Fig. 9.--Upward parallel motion of choralprogressions.
. 16,
18
Cadences
Little will be said of Chopin's cadential character-
istics other than that he used the same conventional cad-
ences (authentic, half, plagal and deceptive) and the first
two predominate in frequency, However, because of the
influence of the national element in his music, Chopin
displays his preference for modal cadences. In the develop-
ment section of the first movement the phrygian cadence is
used before going into the E Major or tonic chord.
Fig. 10.--The use of the phrygian cadence
19
Basis of Harmonic Texture
Through the use of non-harmonic tones such as sus-
pensions, appoggiaturas, pedal-point, accented passing
notes, Chopin creates a rich harmonic texture. The aim of
all the devices employed is to make various shades of light
and dark, creating the tonality. Here is a point of de-
parture from the impressionists, Wagner, and other moderns.
One of the most notable effects in this work is
achieved by retaining dominant feeling through the use of
pedal-point. Illustrated below is a section taken from the
exposition of the first movement, made of a successive
series of dominant sevenths descending chromatically which
act as embellishments to the dominant in E minor (original
key):
2 A
FIE mFIE-
LOAN, A-L-11 OIL m
ads-
M-P
GO S
OW
Fig. ll.--Successive Series of Dominantsover pedal-point.
The pedal-point eventually resolves to the dominant
of the key.
In the following example the non-harmonic tone is
- .0-
-1
fvkA
-1 Ar P2 I---It T -AADfo w m M17 7 Ask --TT I Alk A I gr"w
or_= --------
doe
I IL9 1 'A
00
17
21
repeated in the bass with an entirely new harmony. Here
the tonic is B natural and is retained throughout the
modulation.
4,,
Am A& pVA MW _ _ _ _ _E__ _ _ AWL
age.
i!! M ---
tL1 \l -1-_O
I - w qi im I- - '- I ' .I -' j I
-WW qm7E ? 1 1-
W W S
1 1
"p
Ak
Fig. 12 .--fesolution of the non-harmonic ina changed tone harmony.
11
rd-
-
I a - - -I- I
i
I
I IN" I - . - -
I
&to I -M T - I -fib Ld -1K -- -gal
Now L-. W, I 1 4 - I - . d -o l
22
Chopin makes use of the diminished seventh to obtain a
shimmering effect just as he employed the dominant seventh.
It is only the first and last diminished seventh that can
be related to a key at all.
I1 77?7 ____T-V7t A-h low -'j~'T 1 V T 7i7
Fig. 13.--The use of diminished seventh chordsfor a special shimmering harmonic effect.
A it -
015 w
IM:Rim
tL Im Ida. IIIIIIF 41
=1 S Am J&Ak wr M--:, AWIF wv
Al 1A aL
Lj A I I I I
IF
7
ILlog
AL !2
0-T All n -A
U ILIMAM I ft Mb. 11
off'ocs - 0 0 a
JLawli BRUS I I A I
YL
23
Another device used in disguising the real harmonic
basis is the appoggiatura. This non-harmonic tone is used
within the chord structure which finally has a short
resolution in an arpeggiated passage. The intermingling of
dissonances and consonances in such arpeggiated passages
make the effect less sharp and severe than if the disson-
ances were struck together.
~;' < m l PI T I TTGU WAS man ILi u lip c POR P- 10 A& Alk INN am
P2 'I L I 111
31
0
42 a
AL AM Aft
I- v MW MF1A A
JL
I L LaA low m -7
19 a
zi-01A
r. 7
Fig. 14.--The use of the appoggiatura todisguise the harmony.
I
r
24
The following illustration demonstrates clearly the
interchanging of harmonic tones with non-harmonic tones.
I w li, - 4
I m16 lo
U.
* enS
- Ap-- - - -
J s...f i- -V-, am mm
3 9i
Fig. 15.--The interchanging of harmonic toneswith non-harmonic tones.
goo
lid 1 AM
-
I
I
Mat
mw
11 -1
AM
mw
25
In using double appoggiatura, Chopin resolves the non-
harmonic tones by inference in arpeggiated passages as shown
below:
.me_ j Elm is I 'I,
A - Q iee
So!
I _7 9
ii
Fig. 16.--The use of double appoggiatura toresolve the non-harmonic tones.
I1
26
Melodies or broken chords in simple, undecorated
octaves are rarely found in Chopin; they are always dis-
guised to some extent. Frequently a passage acts as an
embellishment of chords on dominants and tones or as a
harmonization of chromatic scales. The suspension used on
the first beat in the following example gives these meas-
ures the Chopinesque vagueness of tonality.
-L
it IS e ei
Fig. 17.--The use of thetonality.
suspension to disguise
11
27
Another illustration of the complexity evolved in the
simplicity which is the :hopinesque ingenuity can be found
in these measures taken from the first movement. Here the
appoggiatura and its resolution are imitated by the soprano
which acts as the same thing in the melodic line.
Fig. 18.--Imitation of an appoggiatura in thebass by the soprano.
Chopin's predilection for Bach may account for his
abundant use of non-harmonic tones. Non-harmonic tones in
qualities build up the tension, especially when one disson-
ance resolves into another. This principle has been shown
in Fig. 1 where one dominant seventh resolves into another.
So often supertonic alternates with the dominant for long
passages, creating a feeling of restlessness. This is a
device used in extending the key. Modulations without
resolutions heighten the intensity of the music. For abso-
lute tension he uses augmented sixth chords (See Table 1).
Bach's influence likewise furnishes the solution to the
composer's beautiful distribution of chords in which a ser-
ies of inner-voice progressions are created. This procedure
gives the impression of new harmonic structures instead of
simple, decorated triads and seventh chords. Note the
clever handling of the measures below:
11 nj I 1
e1 In - -0'T M
Fig. 19.--The use of decorated triads and seventhchords to give a simple effect.
I
29
Every note in the passage has a purpose. There is no
padding. The non-chordal tone resolves, making a complete-
ness only to occur again in the next similar pattern--an
effect of tossing back and forth.(Agitato).
Hence the composer, realizing the advantages- of old
methods on the new improved instrument of his day, was able
to produce a more refined and sonorous quality of harmony.
Modulation
By examining the factor of modulation, one may find
that although Chopin has a definite fondness for tonic to
dominant relationship, he enjoyed passing through related
tonalities. Those tonalities that contain any importance
other than the original keys of the movement are C# minor,
G# minor and F# minor. Other keys are just to add interest
before returning to the principal key.
A characteristic feature in modulating is the phrase
modulation. This type of modulation is usually temporary
and sequential. The phrase comes to a complete cadence and
then begins on another step of the scale in another key.
Below is an example of such a modulation with the augmented
sixth chords acting as the modulatory chord.
I F ,u 10 Alk Ak Amw I mr 0 0 a - OR-,M,
I I-
I
now4ml
-MAuk Amokmw
A Mq-T I
A OF
SRI -a
i fr
0
m al 6
JAM
lk
AWA
I
Fig. 20.--The use of phrase modulation withaugmented sixth chord as the modulatory chord.
30
-r- -. 0
A I- A -
31
Unresolved modulations in sequence are a very common
devide. Regardless of how far from the main tonality the
modulating sequences may be, the resolution is most often a
cadence on the tonic of the original key.
L fr3
lo OkC3-
Ila
ti Ar-j vw- rllAg
w0ow
6M
L0
re -,~ IFig. 21.--Unresolved modulations in
sequence.
1w : re * ,
i fol i - a" W"ffib mmw I-LI
--
I
191-21 -=7_1
-AM
-A 1 -1 lqwak
32
The above examples are a series of unresolved sequent-
ial modulations. The progression descends chromatically,
each seventh resolving into the other.
In the same category of the unresolved modulation is
the process of suggesting a certain key and then resolving
to another, as in this illustration:
.......... TI AN
ap VIV-;i 1% &1--
40
-'Oft I
-A sob
ILIL
Amok
-9 -- jv-F I
"WFPP^"*
-VIP
FLcrs 229--The process of suggesting a certainkey and resolving to another,
IA mik"glib,
33
Here the German 6th of E flat minor is suggested but
resolves to the key of G minor.
Note the effective melodic modulation in these measures
from the second movement. The composer also uses this de-
vice in sequences.
2blt P- Irn1l
aa4-
rn=11 er
Fig. 23.--The use of melodic modulation
I7--
IOT l a AjI Aor"m -- I
ism
ob
AarIc
ej
i-
L
34
Harmonic Rhythm
The elements involved in harmonic texture include the
relationship between melodic rhythm,, accompaniment rhythm
and harmonic rhythm. Throughout the first two movements of
this concerto the rhythmic relationship among the three
factors is more or less independent. The third movement
supplies the best examples of parallelism between the three
rhythm factors. However, where there are long scale
passages in both clefs, all three movements give adequate
illustrations.
tm,
Fig. 24.--Parallelism between the melodicrhythm, accompaniment rhythm, and harmonic rhythm.
35
In the measures below the rhythmic elements are
identical.
At
r~7 ~2_~~ML - ANIL AokiyU P S
J 0.... .. -oNNW
W"i Pe e in4
Fig. 25.--Another example of parallelismbetween the three rhythms.
Aec~.
ALAI W, P
6 -
'W 7bA I
I Amd Ai ml .1 .1 -1I-. a F-- l
4_1
36
In the measures of the figure below the harmonic
rhythm in the treble clef stays the same and the embellish-
ment is carried on in the bass.
p
Fig. 26.--The constant harmonic rhythm in thetreble clef and embellishments in the bass.
37
Although there are fewer examples of parallelism in
the first and second movements, excellent examples of
identical harmonic rhythmic patterns are rarely found in
the first movement between the soprano and bass rhythms.
*No
Fig. 2 7.--dentical rhythms between sopranoand bass rhythms in the first movement.
To show the independence of all three rhythmic ele-
ments, the second theme of the first movement possesses
this factor. Yet there is a very close rhythmic relation
between the three parts,
Pw
0 0!1
7 Apr-,"
-----------
71
4b I .....
AZhi AM4-
..
Fig. 28.--Independence of the three rhythmicelements in the second theme of the first movement.
39
For absolute independence of the rhythmic factor, the
second movement supplies an abundance of combinations of
the three elements.
I 4A.S 6 S k
Fig. 2 9.--Independence of the three rhythmicelements in the second movement.
k- A-rf'A
eA Z7. 1'1-.v oc
40
The reason for such changes in rhythmic element is due
to the use of Tempo Rubato which characterizes the movement.
Therefore the harmonic basis is forced to change more often.
The impression gotten from such devices is restlessness.
Where there is a fast tempo the principle usually applied
is that the harmonic change is less frequent.
Fig. 30.--The principle of less frequent har-monic changes in a fast tempo.
CHAPTER III
MELODY
In part, the vast amount of piano literature extant
today, can be traced to Chopin's original melodic inspir-
ation. In all his works (nocturnes, ballades, polonaises,
waltzes, concerti, etc.) he created and taught on the basis
of the "singing tone" as a fundamental approach to pianistic
expression. This concerto demonstrates the ornamented
melody in one hand and rocking accompaniment in the other,
followed by brilliant improvisatory passages. However, an
understanding of the melodic style cannot be reached until-
some knowledge concerning the influence from which he drew
characteristic features is obtained.
Influences on Melodic Style
Primarily, the national influence of Polish peasantry
affected Chopin in several ways. The main forms of his
works were determined by the dance forms and rhythms of his
native land. Often he created whole sections on one phrase
or two phrases, alternating these. The chief interest of
this chapter is concerned with the vast influences which
affected the melodic content of Chopin's compositions. A
41
42
great part of the Polish folksongs are written in the
church mode. Niecks depicts very vividly the nature of the
Polish peasants.
But the peasants, although stupid in superstitionand ignorance, and too much addicted to brandy-drinkingwith its consequent quarrelsomeness and revengefulness,had not altogether lost the happier features of theircharacter, hospitality, patriotism, good-naturedness,and, above all, cheerfulness and love of song anddance. It has been said that a simple Slavonic peas-ant can be enticed by his national songs from one endof the world to the other. The delight which theSlavonic natures take in dancing seems to be equallygreat. No other nation, it has been asserted, cancompare with them in ardent devotion to this amusement.Moreover, it is noteworthy that song and dance werein Poland--as they were, of course, originally every-where--intimately united.1
Other influences affecting Chopin's melodic style can
be credited to Hummel, Field and Bellini. His nocturne-like
melodies come from the Italians, Bellini and Rossini. It
also stems from Elsner and Spohr whose melodic styles were
of the same character.
In other words, Chopin's melody, insofar as itis Italian, is not an imitation but a stylization ofItalian bel canto. 2
The many other influences, such as Fields, Hummel, and
Moscheles, to whom Chopin is indebted, will be discussed in
their respective places, since it is important to take up
Frederick Niecks, Frederic Chopin as a Man and aMusician, p. 61.
2Gerald Abraham, Chopin's Musical Style, p. 64.
43
at this time each characteristic of melody.
In analyzing the three movements of this concerto it is
found that the themes are the backbone of the movements.
None of the themes contain any pretentious development but
are varied by change of key, brilliant passage work, and
change of register.
Melodic Style of Each Movement
First Movement.--The concerto opens like most of the
brilliant concertos of this period. The opening theme,
which acts as an introductory theme leading to the main
theme proper, is brought to mind throughout the movement by
the orchestra. It is built on the tonic triad with refer-
ence to the raised seventh degree of the scale. Truly,
this cannot be called a theme but a motive. It is one
measure in length made of two transitive units with a
masculine ending. A brilliant scale passage follows before
this motive is repeated in A minor.
44
Ale up= 4 4m
11 of IF w t
-,."T L b
A w*lr PJI L %1 0 N z I I I---
VT -V
AM
it
MEMO& VMS
A dW
ALwLim P1
-7r
Fig. 31.--The scale passage following the mainmotive in the first movement.
The following theme is obviously the main theme of this
movement:
-I
nowmom MIL
-Irrcz
so n 0 . . . .
45
Fig. 32.--The main theme of the first movement
'yncopation characterizes the influence of the mazurka
in Chopin's melodies. Edgar Stillman Kelley enlightens us
upon this subject by explaining the performance of such
intricate rhythms.
.. ..The Polish c ountry-people we ar patt ens orclogs in dancing, which enable them to execute (orrattle) a great variety of complicated rhythmicfigures.
46
.,e adds:
When Chopin made his collection of folk-melodiesit included many rhythmic features derived from thishumble source......3
The theme is basically diatonic; it extends for four
measures and has a feminine ending. Another stylistic
feature of Chopin's melody is shown in the repetition of a
second main theme. He was fond of sequential treatment of
the motive or phrase. Nevertheless, in repeating the phrase
a half step higher, he changed the ornamentation. (c.f.Fig.32)
Fig. 33.--Sequential treatment of the phrase
3Edgar Stillman Kelley, Chopin the Composer, p. 22.
47
Chopin was not a composer for stereotyped phrase-
building. In the second section of the main theme the
restatement of the rhythmic idea is varied but the melodic
content is also varied. The most notable feature of this
motive is the use of suspensions and non-harmonic tones.
1-4-
40* * * . I n .
AM AWL
PT+6wz.
9 0-
Fig. 34.--The use of suspensions and non-harmonictones in the main theme.
rM I
i, A 090, -I I v --AW-
LM
This particular part of the main theme is given to
development or, to be still more specific, variation.
On the whole, the entire main theme is a smooth
melodic line with a few skips. It is the rhythmic element
that adds a greater part of the interest. Within the
brilliant passage work that accompanies the main theme
there are held notes that create a definite melodic line
as follows:
work.Fig. 35.--Insertion of a melody within passage
49
The secondary theme is of a different character than
the main theme because the rhythmic element is not as strong
in this and the melodic element lends more in a freer
rhythm. The melody starts on the 'dominant and ascends
scale-wise to G#; then descends without any skips until the
fifth measure where there is a skip down a third with a
definite change in rhythm. In order not to interrupt the
long line, the melody returns to the B and proceeds downward
to a point of rest. Such a device of melodic construction
is comparable to the old plain song. To add to this
feature, the appoggiatura created new interest to the
lyrical line.
- '--Mwm - R a- S ' ff I III I W., 'Im I - M w I A - - I E . AN&I -rl--V OM M
%oilJim -Arll -Ilpv
I 11dC -
MIME- mom
-70
Ali 1
%40000
. ..........A" TL;av
Ask
If lvm-- AML 'Owl
M
7777'p77
Fig* 36*--The use of appoggiaturas in themelodic line,
50
Second Movement.--Knowing the human voice to be the
most beautiful of all instruments, Chopin imitated the
bel canto style on his own instrument. The main theme of
this movement is in style with the fioriture of the old
Italian song but the two differ in that Chopin departed
from the stereotyped form. He varied the adorned melodies
with different rhythm patterns and ornamentations, unsuited
to the vocalist, but advantageous to the display of his own
instrument. Notice in the figure below the two measure
motive which is repeated in the octave. Throughout there
are reiterations of the motives.
amr |*
Fig. 37.--The main theme of the second movement
A tendency to thicken melodies in thirds and sixths
is a feature taken from the duet in Italian opera rather
than from Polish peasants:
Fig. 38.--Melody in thirds
52
Fig. 39.--Melody in sixths
Fig. 40.--Melody in octaves
53
The secondary theme of this movement is of the same
nature as the first theme. However, the movement and
rhythm vary considerably. It is an ascending diatonic
theme in the dominant major containing the dotted rhythm
effect.
. VA.
I L I VUJF- 110 W
-look n en
Fig. 41.--The second theme of the second movement
54
At the return of the main theme the solo instrument
plays brilliant passage work over the orchestral part
carrying the melodic line.
~~ 9.
i 7 iq -
.Fig. 42.--The main theme in the orchestral partin the recapitulation.
55
Third Movement.--The spirit of the first theme of this
movement is of a scherzo character. Since the heavy accent
falls on the second beat, a skipping effect lends itself to
the quickly moving tune. It is essentially diatonic with a
few chromatic, non-harmonic tones. This is strictly an
instrunital theme because of its range and tempo.
--- 4m ---L-
9 -'a'
IIlop-
Fig. 43.--The main theme of the third movement
alk
56
After each theme there is much passage work before the
next idea and quite a bit of orchestral introduction.
The secondary theme is of a more lyrical style. 3us-
pensions are the predominant feature of this theme, a
factor which enriches the harmonic texture, especially
when played over a consonant orchestral part.
a a ma.__v__AW _. Im i air= luo- dw 4W gm wA" lbawn tw- rz I I ____ IALA -7 1 1 1-,A _T_IV
udmm11 omo I.Jr LA
T
rA
AL ska .1 ohmkh.- -. 0 AL
TL_
ILWON
GODOslo"
MIM
in -jn A _7Now I iv j t
MWM4
Fig. 44.--The second theme of the third movement
In studying the actual thematic material the author
feels that the virtuosic element outweighs the thematic
4
57
value. Nevertheless, the melodic material that is present
has its value in showing the stylistic features of this
composer.
Influences on Melodic Embellishments
Again, here, it may be well to mention the multitude
of acciaccaturas, appoggiaturas, mordents, double mordents,
trills, etc. as reference to the influence of the old clavi-
chord and harpsichord masters. Just as it was a necessity
with Bach and Rameau in order to enrich their melodic ideas,
Chopin felt the same urge to beautify his musical phrase.
As has been cited, the Larghetto serves an excellent
idea of Chopin's embellishments in general. Chopin's fig-
uration was different from any other composer's of his
time. Some of these devices that were hardly known by
others were decorated organ-point (see Fig. 8); reiteration
of a figure, above which was developed a melody or a series
of phrases (see principle theme, first movement); variegated
sequential sequences (see Fig. 37).
In conclusion it might be said that all of these de-
vices may be found to have been used by the influential
personalities in Chopin's life, but his individuality
remained and his character was expressed under the domain
of his instrument.
CHAPTER IV
FORM
Chopin's perfection of form was ideal. No composer
ever worked with as much enthusiasm or symmetry of detail
and accuracy of outline. Every effect has its purpose and
is finished with the utmost care. Contrary to his pre-
decessors, his thoughts were conceived spontaneously and in
keeping with the objective of composers of his time. Never-
theless, his works were evaluated before they were ready
for presentation. He could not have attained the heights
that give him his rank as a master composer if he had
followed tradition. Instead, he followed his own intuition
of style and cultivated his innate delicacy of taste. Thisconcerto is an excellent study of his formal structure inthat each movement offers a different construction. It isobvious that sonata form which is the form of the first
movement is his weakest point. The second movement is internary form, while the last movement represents his rondo
style.
However, before discussing the basic structural plans
of each movement, an explanation of inner structure of eachmovement should be made.
58
59
Balance and Contrast
In music of Western origin, derived from folk songs,
symmetry is obtained by grouping eight measures, usually
built in groups of four or two, making a unified whole.
The music of the Polish deviated from the Western tradition
by accepting traits of the Russians. Chopin's patriotism
served as a source for new material, but for the most part
he adhered to the Western European system of phrase con-
struction, but more characteristic specimens follow the
Slavic system of reiteration.1 (See Fig. 37 for reiterative
melodic construction) The main theme is made up of the
repetition of two measure motives for eight measures, plus
two measure extension balanced by eight measures of two
measure motives.
Chopin frequently forgot his nationalistic traits and
created the regular four or eight bar periods. The main
theme of the first movement is a regular eight bar period
with a four measure stretto. (See Fig. 32)
Contrast of the thematic material is achieved through
embellishing the melodic line, changing the harmonic back-
ground, and by the composer's skillful improvisatory talent
which has been discussed previously. His developmental
section is mainly a virtuosic treatment in free-fantasia
1Edgar Stillman Kelley, Chopin the Composer, p. 66.
60
form. His sense of theme development and key scheme is weak.
To illustrate how little he knew about handling key
relations and contrasts, in the first movement the tonic is
not relieved until the working-out section, but passes
through nearly related keys to maintain interest and then
returns to the original key at the close of the idea.
Basic Structural Plans
First Movement.--After the Beethoven epoch a great deal
of musical literature was devoted to the sonata form, but
very little was written according to the sonata form
precedent. Chopin adapted this form to his own needs. His
developmental section becomes free-fantasia; however, what
he disregarded in the sonata he emphasized in the diffi-
culty of treatment with other details such as subtle pro-
gressions of inner voices, harmonic designs, and modulating
themes.
Although the Romantic period modified the structure of
the sonata form, Chopin remained orthodox since he followed
Hummel as a model in structure and in the character of the
movements.
The elongated form.of the first movement makes for
less compactness and the subjects being the same key make
for monotony, as shown in the diagram below:
61
TABLE 2
AN OUTLINE OF THE THEMES AND KEY SCHEMEOF THE FIRST MOVEMENT
Thematic Key SchemeMaterial
1st subject e minor
2nd subject E major
Development C major leadingthrough variouskeys to the re-turn of the firstsubject
1st subject e minor
2nd subject G major
Close (coda) e minor
Notice the key of the secondary theme of the first
movement. It is customary to state it in the relative
major, in this case G major, whereas Chopin brings it in
the tonic and in G major in the recapitulation. This pro-
cedure is exactly the reverse of conventional usage.
Some mention of the organization of the opening tutti
will show how much the classical concerto form meant to him.
Usually both subjects of the movement are presented in the
tonic key and it is left up to the solo part to sort them
out. Mozart followed this plan, but Beethoven and Hummel,
whom Chopin admired, put the second subject in the relative
major in the opening tutti. They close the introduction
material with the first subject in the tonic. Chopin, in
62
this concerto, puts the second subject in the relative
major, thereby clinging to the tonic throughout.
The etude fitted his individual taste, therefore he
abandoned any pretense of working out in the development
section. After the main theme is stated in C major the
music then consists of brilliant passage work of modulating
figures as follows:
AU-jr!Ada
qW
AM M-
711 'on 73 W LIM
Ail 1-1- dewPT
:z7
I I IrI dw1"I low Off
-DEW
AgeI J
f Fm IlkXB
Id.1 WV
'7;f~4 r~jer% .~
Fig. 45.--The etude style in the first movement
6kv= kmbsm;ai V,rn
63
Second Movement.--Structurally Chopints slow movement
is an extension of the ABA form, with a brief orchestral
prelude introducing the prolonged solo, as shown in the
following table:
TABLE 3
ThE OUTLINE OF THEMES AND KEY SCHEMEOF THE SECOND MOVEMENT
Thematic Material Key Sche
Brief orchestral prelude
A - Main theme in E maj
B - Secondary theme in B maj
A - Main theme ornamented in E maj
B - Secondary theme
A - Main theme in or-chestral accompanimentby piano figuration
me
ulating throughbrief interludes inG# minor
G# major
E major
Hummel serves as a model for Chopin's form of this move-
ment but the latter demonstrates his superiority. His slow
movement is romantic which originates from a different.-
source than Hummel's. Here is where the Italian opera and
Bellini have their definite influence. Hummel is classical
with square-cut melody and with- little harmonic interest.
No better example can be had of tonic to dominant
relationship than this movement. Even though such a
or
or
Dr and mod-
64
procedure is worn out, Chopin has used an ingenious manner
in approaching these keys without giving the feeling of
triteness.
Third Movement.--The form of this movement offered an
escape from developing his thematic material which Chopin
did not care to solve to any degree of perfection. Be-
cause rondo form is the most rudimentary of the larger
musical forms, he makes the most of its possibilities.
Edgar Stillman Kelley gives an explanation of the
beginnings of the rondo and why this form appeals to the
majority:
The repetition is essential to the retention ofan idea in an ever moving art, such as in literatureand music. Hence, since poetry preceded musicalform, the use of words of similar sound and groupingof lines of similar length were the first efforts atrhyming couplets. After the verses got longer, theutilization of a recurrent stanza in which all thelines were repeated at regular intervals served asan aid to memory. This form was called rondo.2
The early composers found this form easy to comprehend
and it was eventually used for the last movement of the
classical sonatas. However, the finale movement received
less attention since most of the composer's ingenuity
was concentrated on the first movement.
The material used for the rondo movement was consider-
ed dry and uninteresting. Edgar Stillman Kelley describes
2Edgar Stillman Kelley, Chopin the Composer, p. 80.
65
the rondo form as follows:
The classical rondo was so constructed that themain theme was in the key of the tonic and the second-ary themes and episodes in the dominant or othernearly related keys in order that the return to themain theme was always expected to be in the tonic.This identification of the principal subject with thetonic gave great firmness to the structure. In rondoswith two or more themes, the first subordinate theme(together with the episode or closing theme, if theywere employed) was in the key of the dominant. Themain theme (usually abbreviated) now reappeared inthe tonic. Where there was a second subordinatetheme, a first key was chosen for it, the subdominant,or other closely related tonalities after this maintheme was brought in again. Then the first subordin-ate theme (and other material, if such there were)but now in the tonic instead of the dominant, in whichthey originally appeared. Finally the main themefurther composed the principal tonality -- usuallystrengthened by a coda.3
But the nineteenth century composers sought to make
music more interesting by creating vague tonalities through
less persistence upon tonic and dominant. Chopin, in the
rondo of this concerto, uses a very liberal modulatory scheme
by presenting the subordinate theme in a subdominant key
which had been in the dominant and the same theme in the re-
capitulation occurs in the dominant which should have been in
the tonic. However, this is far from being Chopin's out-
standing rondo. His later works in this form have more
logic and balance in organization. The early rondos are
of minor significance in musical form but are a stringing
3Edgar Stillman Kelley, Chopin the Composer, p. 85.
66
together of smaller, independent parts, as shown below:
TABLE 4
AN OUTLINE OF THE THEMES AND KEYSCHEME OF THE THIRD MOVEMENT
Thematic Material
A - Main theme
A - Brilliant passage workpassing through C# minor andother temporary modulations
B - Subordinate theme re-peated with brilliant passagework leading to main theme
A - Main theme
A - Main theme with brilliantpassage work
B - Subordinate theme
Subordinate theme
Subordinate theme
E Major
E Major and c# minorpassing throughother temporarymodulations
A Majorb minorF MajorA Major modulatedthrough other temp-orary modulations
Eb Major
E Major modulatedthrough nearly re-lated keys
B Major
G Major
E Major
A characteristic of the style of a composer who thinks
lyrically: "....an extension of balancing melodic phrase by
melodic phraze."4
4 Gerald Abraham, Chopin'sMusical Style, p. 13.
Key Scheme
67
Orchestration
A word about the orchestration of this concerto will
suffice, since Chopin was not a pretentious orchestral
composer. Probably the best reason for Chopin's inadequate
handling of the orchestra is the influence of Hummel who
had given the orchestra secondary importance. Such second-
rate composers of the early Romantic era as Field, Moschel-
es, Kalkbrenner who followed this treatment of the orchestra,
begun by Johann Christian Bach, decided on brilliant
passage work and Italian cantabile melody rather than the
dialogue between solo and tutti, which style was kept by
Mozart, Beethoven and Brahms.
The early romantic composers were confronted with
expressing romantic ideas through a classical medium. In
an attempt to unite these two factors, Chopin's themes of
the classical forms were affected. His themes are more
melodic than harmonic, paralyzing his creative faculties
for development.
CHAPTER V
PIANISTIC IDIOM
In listening to Chopin's music, the most striking
feature that is evident is the individual treatment of
themes and passages. His incomparable skill at the key-
board displays his ability to make the simplest figures
interesting. No other composer has surpassed him in the
logic and intelligence with which he employs the pianistic
medium of expression.
The e minor concerto serves as an excellent composit-
ion to show some of the most characteristic devices used
in technical inventions.
Very often, in order to escape the main tonality, he
uses such devices of changing harmonies as follows:
68
69
IF I -dir "NOW dimA r;wo UdAb, ML .1 RIFo M Alrus pJas WWIIF. Am i
Ago, onPW
A
0- lows
w I AL a I I rue om aall
v WWI WAS
It"AM
ALua
Auk
softLk 7
'OW
_ _ L -rra I4
Fig. 46.--The use of changing harmonies in themain tonality.
The criss-cross designs of this passage show complex
harmonic principles which Chopin evolved.
i ""4A ;9 IL.t-
ia . a ; -4b10,01 r pFr
70
A device which has both technical difficulty and an
elusive effect is embellishment of octaves. A web-like
effect is produced by the sustained chords in the right
hand and two octave passage work in the left as follows:
42g~ijIp( mr -kI T Ill:
All -w 1-sr I 'AO
lp~ri- ras .414, i
A'I l
I~I.
rrI I's
Fig. 47.--The combination of sustained chordsand two octave passage work.
Such a group of notes has an abstract character of
its own and the harmonic alteration of the chords does
jFmavf-
71
not lose continuity because of the individual rhythmic
pattern.
To heighten the effect, Chopin frequently employed
chromatic scales. Notice, in the figure above, the chro-
matic descent of the chords. Since he admired Bach,
Chopin made use, in many ways, of such devices as wide-
spread dominant seventh chord with cadenza-like embellish-
ment, (See Fig. 8) series of harmonic, melodic, and
chromatic sequences (See Fig. 6).
Usually in nocturne-like works, irregular grouping
and elaborate fioriture with long leaps are characteristic
features. In the slow movement, as shown in the figure
below, notice these melodic devices:
p~ ~j moo *t t *f.)q*4 gos~ *___iAk W LAWw -dot T
AL
A 4.
1P
J I I
AVS UN MW wAM Alk
wr or 7
F -- I-
=Wow
VA IT-
Figs 48*--Long Leaps in the melodic line
72
One of Chopin's favorite technical expressions is the
use of the broken arpeggio. The series of progressions may
be diatonic or chromatic. There are several places through-
out the concerto in which this device is used.
Fig. 49.--Example of broken chords in diatonicand chromatic progressions.
to A&: I -TIMNNR I MMOR, I-We I,- JA .,I I UNP 41", ada V4 rl m
:A Is v I W-Il .. W ilkJAM W at UdA IN. , I/ AW
L
1
4m
z ow
11 wl % '2
IArl
oe
A r4r
moi6
:5k
=t
ajor S*MWOOOT
9
__
"
73
Another influence of Bach on Chopin's style can be
detected in sections that contain doubled notes intermingled
with scale passages. In the following illustration from
the third movement, notice the use of a scale passage made
of double notes.
_____ __ 161.
Fig. 50.--Doubled notes interchanged withscale passages.
From the second movement, the following device prevails:
Fig. 51.--Doubled notes interchanged with singlenotes.
iI I jib p
All
74
The first movement illustrates the utilization of
double notes in the last part of the exposition:
mw AsW iAftlA A
Fig. 52.--The use of doubled notes in thefirst movement in the same manner.
Other than a few compositions written for other
instruments, such as the mazurka for voice and nocturnes
for the violin, the majority of Chopin's compositions were
obviously adapted for the piano. No one else has rivalled
him in piano music due to the fact that he was able to
devote his entire concentre entirely on the one instrument
and it gave him an incomparable place in his understanding
of wide-spread arpeggios, chromatic scale, and his treat-
ment of other technical features. In an attempt to
achieve orchestral effects with the piano, Beethoven,
Schumann, and Liszt failed; but Chopin, with his under-
standing of the instrument's capacities and limitations,
achieved great heights.
CHAPTER VI
CONCLUSIONS
Chopin's music is characterized by his talent of
creating beautiful melodies with an unusual ability for
improvisation. His command of the keyboard is evident in
the utilization of dazzlingly brilliant passage work. The
distinct effect which makes his music sound Chopinesque
can be accounted for by his ever-present loyalty to his
native land. In viewing Chopin's rank as a composer, he
cannot stand on the level of Palestrina, Bach, nor
Beethoven, but he definitely made a "ripple in the sea."
The greatest portion of piano literature is indebted to
him for a new harmonic idiom other than that of his
predecessors.
75
BIBLIOGRAPHY
Books
Abraham, Gerald Ernest Heal, Chopin's Musical Style,New York, Oxford University Press, 1929.
Engel, Hans, Das Instrumental Konzert, Leipzig, Druck, undVerlag von Breitkopf, und Hartel, 1932.
Hadow, Sir William henry, Studies in Modern Music, NewYork, Macmillan and Gompany, 1894.
Huneker, James gibbonss , Chopin, the wan and His Music, NewYork, Charles Scribner & Sons, 1900.
Karnsowski, Mourycy, Frederic Chopin, His Life and Letters,translated by Emily Hill, London, The New TemplePress, 1938.
Kelley, Edgar Stillman, Chopin, the Composer, Boston,G. Schirmer, 1913.
Leichtentoitt, Hugo, Music History and Ideas, Cambridge,Mass., Harvard University Press, 1944.
Mason, Daniel Gregory, The Romantic Composers, New York,The Macmillan Company, 1917.
Niecles, Frederic, The Life of Chopin, Volume I, secondedition, New York, Novello, Ewer & Company, 1890.
Veinus, Abrahm, The Concerto, Garden City, Doubleday,Doran & Company, Inc., 1944.
Score
Chopin, Frederic, Concerto in e Minor, Opus 11, edited byRafael Joseffy, New York, G. Schirmer, Inc., 1918,
76