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Chopin et son temps / Chopin and his time

Actes des Rencontres Internationales « harmoniques », Lausanne 2010 – Proceedings of the « harmoniques » International Congress, Lausanne 2010


Edited By Vanja Hug and Thomas Steiner

Ce volume présente les contributions des cinquièmes Rencontres Internationales organisées à Lausanne par la Fondation harmoniques en septembre 2010. Il offre un regard panoramique et des études à plusieurs voix sur la variété des écoles de facture de piano et des styles pianistiques à l’époque de Chopin. C’est la conjonction de l’observation scientifique, de la connaissance des sources historiques et de la pratique artisanale qui constitue l’intérêt principal de ces communications.
This volume comprises the proceedings of the fifth International Congress which was organised by the harmoniques foundation and held in Lausanne during September 2010. Through the juxtaposition of scientific observation, historical research and practical instrument-making in the assembled essays, an impressive diversity of piano making and playing encountered in Chopin’s time unfolds.


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Late Style, Last Style, and Chopin’s Waltz in A flat Major, op. 64 no. 3 (Jeffrey Kallberg)


1 I have elsewhere discussed at greater length the arguments in this paragraph. On the mixture of genres at different times in Chopin’s life, see “Chopin’s Last Style,” in my Chopin at the Boundaries: Sex, History, and Musical Genre (Cambridge, Mass.: Harvard University Press, 1996), p. 263; on the consciousness of style, see “Finnish Modern: Love, Sex, and Style in Sibelius’s Songs,” in The Cambridge Companion to Sibelius, ed. Daniel M. Grimley (Cambridge: Cambridge University Press, 2004), pp. 134–136. And, in shorter form, I have touched on some of these ideas in a booklet essay for the pianist Stephen Hough’s compact disc recording Chopin: Late Masterpieces (Hyperion CDA67764, issued in 2010). 2 See “Late Style in Beethoven,” in Theodor W. Adorno, Essays on Music, ed. Richard Leppert, with new translations by Susan H. Gillespie (Berkeley and Los Angeles: University of California Press, 2002, pp. 564–568, and Edward W. Said, On Late Style: Music and Literature Against the Grain (New York: Vintage Books, 2006). Late Style, Last Style, and Chopin’s Waltz in A flat Major, op. 64 no. 3 Jeffrey Kallberg The concept of style in music can neutrally chronicle compositional techniques. But when style intersects with notions of time, it inescapably shoulders cultural and historical burdens. If the composer’s own time is in question, style – early, middle, late – takes on attributes of bodily existence: technique filters through the human condition. The same array of techniques – the propensity to blend genres, to take an example from Chopin – appears differently...

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