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Between Romanticism and Modernism

Ignacy Jan Paderewski’s Compositional Œuvre

by Bogusław Raba (Author)
©2015 Monographs 317 Pages

Summary

This is the first monograph on the Polish composer Ignacy Jan Paderewski (1860–1941). It aspires to be part of the process of restoring his compositional legacy to European musical culture. Reinterpreting the legend surrounding the great Pole, the study is based on Paderewskis works that are listed in the Paderewski catalogue, but also includes sketches, unfinished pieces and student exercises. Raba’s analysis and interpretation of the composer’s work is carried out in formal-structural, stylistic-critical and aesthetic contexts, revising the image of the composer, that has been distorted in the historical reception of his œuvre.

Table Of Contents

  • Cover
  • Title
  • Copyright
  • About the Author
  • About the Book
  • This eBook Can be Cited
  • Table of Contents
  • Examples
  • Introduction
  • Chapter 1
  • Work and Oeuvre
  • Between romanticism and modernism
  • Style
  • The social-national dimension of creative output
  • Character of the sources
  • State of research
  • Periodisation of the oeuvre
  • Chapter 2: Early Romantic Output (i): Between Historicism and Folklorism (1876–84)
  • 2.1 The compositional interpretation of Romantic historicism
  • 2.2 From salon convention to personal lyric – the early instrumental miniature
  • 2.3 Folklore in the national spirit: Danses polonaises, Op. 5 and Op. 9
  • Chapter 3: Early Romantic Output (ii): in the Shackles of Berlin Academicism and the National Tradition (1882–84)
  • 3.1 In the sphere of the Chopin-Moniuszko tradition – Vier Lieder, Op. 7 and ‘Maienblume’
  • 3.2 Around a Romantic topic – between Schumannian Charakterstück and Lisztian programme
  • 3.3 The idea of syncretic form – the Variations et fugue in A minor, Op. 11
  • 3.4 Source folklore in the national spirit or salon-style musique orientale? The Tatra Album, Op. 12
  • 3.5 Berlin academicism and national style – chamber and orchestral works
  • Chapter 4: Mature Romantic Output (1884–96)
  • 4.1 Relative historicism: stile antico – stile moderno – Humoresques de concert, Op. 14
  • 4.2 A synthesis of the lyrical and the narrative in a cyclic form, Miscellanea. Série de morceaux pour piano, Op. 16; Canzone
  • Légende in A flat major, Légende in A major
  • Mélodie in G flat major, Nocturne in B flat major, Canzone
  • Thème varié, Op. 16 No. 3
  • Un moment musical in A flat major, Minuet in A major
  • 4.3 Between the national and the universal in a large cyclic work
  • Thematic virtuosity – the Sonata in A minor, Op. 13
  • Piano Concerto in A minor, Op. 17 – a Schumannesque pendant?
  • Violin Concerto in G minor (sketches)
  • An apology of Polish folklore – the Fantaisie polonaise sur des thèmes originaux pour piano et orchestre, Op. 19
  • 4.4 Romantic inspirations of the modernist watershed
  • Six Songs for voice and piano, Op. 18
  • Dans le désert. Tableau musical en forme d’une toccata, Op. 15
  • Chapter 5: Stylistic Polarisation in the Face of Modernist Trends (1893–1909)
  • 5.1 Manru. Lyrisches Drama, Op. 20 – eclecticism or syncretism?
  • From Manolo to Manru – genesis
  • The literary original and Alfred Nossig’s libretto: structure and ideas
  • The symbolic drama and the ‘Wagner method’
  • Synthetism, eclecticism or stylistic disintegration?
  • The conception of Manru in the light of foreign poetics
  • Manru as a parallel of the composer’s identity?
  • 5.2 On the threshold of a modernist stylistic polarisation: the Sonata in E flat minor, Op. 21 and Variations et fugue in E flat minor, Op. 23
  • 5.3 Chansons à la française or a creative dialogue with French symbolism: the Douze Mélodies, Op. 22 and ‘Dans la forêt’ to words by Théophile Gautier
  • ‘Dans la forêt’ – the Romantic roots of symbolism
  • Douze Mélodies, Op. 22 ‘the marriage of love and death’
  • 5.4 In memoriam — sursum corda: The ‘Polonia’ Symphony in B minor, Op. 24
  • Specifics of musical narrative
  • The symbolism of the semantic code
  • Opposition to tyranny and a declaration of unity – a critique of style
  • Chapter 6: Aesthetics
  • 6.1 Views on art
  • 6.2 Concert repertoire
  • 6.3 Creative aesthetic
  • 6.3.1 Paderewski – a regressive modernist?
  • 6.3.2 The individual character of creative output and the universalistic style of the epoch – aesthetic value
  • ‘Chopin resurrected’ – a function of the symbol or a substrate of an individual style?
  • The ‘War of the Romantics’
  • Message
  • Nationalism — universalism — cosmopolitanism
  • Between the salon and the concert hall
  • 6.4 The significance of the oeuvre of Ignacy Jan Paderewski
  • Bibliography
  • A. Sources
  • B. Subject literature
  • C. Supplementary literature

Examples

Example 1.I. J. Paderewski, Suite, Op. 1a, Prelude in E flat major, bars 1–5.

Example 2.I. J. Paderewski, Suite, Op. 1a, Burlesque in E flat major, bars 1–5.

Example 3.I. J. Paderewski, Trois morceaux, Op. 2, Gavotte in E minor, bars 1–4.

Example 4.a) I. J. Paderewski, Trois morceaux, Op. 2, Valse mélancolique in A major (section 3, A/B), bars 101–112; b) F. Chopin, Grande Valse brillante, Op. 34 No. 2, bars 1–15, the presumed source of inspiration.

Example 5.I. J. Paderewski, Stara suita (na trzy głosy) [Old suite] (for three voices), Op. 3, Prelude in D minor, bars 1–5.

Example 6.I. J. Paderewski, Stara suita (na trzy głosy) [Old suite] (for three voices), Op. 3, Intermezzo in F major, bars 1–4.

Example 7.I. J. Paderewski, Stara suita (na trzy głosy) [Old suite] (for three voices), Op. 3, Aria, bars 1–5.

Example 8.I. J. Paderewski, Introduction et toccata in D minor, Op. 6, Introduction, bars 1–6.

Example 9.I. J. Paderewski, Introduction et toccata in D minor, Op. 6, Toccata, bars 209–212.

Example 10.I. J. Paderewski, Waltz in F major, bars 9–14.

Example 11.I. J. Paderewski, Song in F major, bars 1–4.

Example 12.I. J. Paderewski, Impromptu in F major, bars 20–24.

Example 13.I. J. Paderewski, Elégie in B flat minor, Op. 4, melodic-harmonic symbolism, bars 1–7.

Example 14.I. J. Paderewski, Danses polonaises, Op. 5, Krakowiak in E major, bars 7–10.

Example 15.I. J. Paderewski, Danses polonaises, Op. 5, Mazurka in E minor, bars 1–6.

Example 16.I. J. Paderewski, Danses polonaises, Op. 9, Krakowiak in F major, bars 29–36.

Example 17.I. J. Paderewski, Danses polonaises, Op. 9, Mazurka in A major, bars 27–31.

Example 18.I. J. Paderewski, Danses polonaises, Op. 9, Mazurka in B major, bars 1–5. ← 313 | 314 →

Example 19.I. J. Paderewski, Danses polonaises, Op. 9, Polonaise in B major, bars 55–62.

Example 20.I. J. Paderewski, Vier Lieder, Op. 7, ‘Rosentage sind verronnen’, bars 25–35.

Example 21.I. J. Paderewski, Vier Lieder, Op. 7, ‘Raubten mir ihn, meinen Lieben’: a) march stylisation, bars 20–27; b) prayer, bars 81–89.

Example 22.I. J. Paderewski, Chants du voyageur, Op. 8, Allegro agitato, bars 1–6.

Example 23.I. J. Paderewski, Chants du voyageur, Op. 8, Andantino melancolico: 1) ‘journey motif’, bars 1–6; b) melodic-harmonic symbolism, bars 120–129.

Example 24.I. J. Paderewski, Album de mai. Scènes romantiques, Op. 10, ‘Chant d’amour’, bars 1–7.

Example 25.I. J. Paderewski, Album de mai. Scènes romantiques, Op. 10, ‘Barcarola’ in F sharp minor, bars 50–54.

Example 26.I. J. Paderewski, Album de mai. Scènes romantiques, Op. 10, ‘Caprice-Valse’ in A flat major, bars 1–4.

Example 27.I. J. Paderewski, Powódź [The flood] in D minor: a) reflection of the model of Chopin’s Prelude in D minor, Op. 28 No. 24, bars 1–12; b) one of the few quotations in the Paderewski oeuvre, Alojzy Feliński’s song ‘Boże coś Polskę’ [God, Thou who Poland], bars 94–103.

Example 28.I. J. Paderewski, Intermezzo No. 1 (‘W błyskawiczną noc’ [On a lightning-filled night]), bars 1–6.

Example 29.I. J. Paderewski, Variations et fugue in A minor, Op. 11, theme, bars 1–4.

Example 30.I. J. Paderewski, Variations et fugue in A minor, Op. 11, Variation XIII, Allegro appassionato, bars 257–260.

Example 31.a) I. J. Paderewski, Album tatrzańskie, Op. 12, Allegro comodo, bars 1–4; b) O. Kolberg, Dzieła wszystkie, xlv, no. 2238.

Example 32.a) I. J. Paderewski, Album tatrzańskie, Op. 12, Andantino grazioso, bars 49–56; b). O. Kolberg, Dzieła wszystkie, xlv, no. 2289.

Example 33.a) I. J. Paderewski, Album tatrzańskie, Op. 12, Maestoso non troppo allegro, bars 1–6; b) O. Kolberg, Dzieła wszystkie, xlv, no. 2234.

Example 34.a) I. J. Paderewski, Tatra Album, Op. 12, Allegretto, bars 1–13; b) O. Kolberg, Dzieła wszystkie, xlv, no. 2275.

Example 35.a) I. J. Paderewski, Tatra Album, Op. 12, Allegro ma non troppo, bars 1–5; b) O. Kolberg, Dzieła wszystkie, xlv, no. 2236. ← 314 | 315 →

Example 36.I. J. Paderewski, Two Canons (‘Z uczniowskiej teki’ [From student files]), Canon No. 1 (at the seventh), bars 1–4.

Example 37.I. J. Paderewski, Suite in G major, Scherzo, bars 107–113.

Example 38.I. J. Paderewski, Overture in E flat major, principal theme, bars 276–283.

Example 39.I. J. Paderewski, Humoresques de concert, Op. 14, Minuet in G major, bars 28–35.

Example 40.I. J. Paderewski, Humoresques de concert, Op. 14, Sarabande in B minor, bars 33–36.

Example 41.a) I. J. Paderewski, Humoresques de concert, Op. 14, Caprice à la Scarlatti in G major, bars 1–8; b) D. Scarlatti, Sonata in A major (Ricordi 595), bars 1–3.

Example 42.I. J. Paderewski, Humoresques de concert, Op. 14, Burlesque in F major, bars 150–153.

Example 43.I. J. Paderewski, Humoresques de concert, Op. 14, Cracovienne fantastique in B major, bars 55–57.

Example 44.a) I. J. Paderewski, Miscellanea. Série de morceaux pour piano, Op. 16; Légende in A major, bars 5–8; b) F. Chopin, Ballade in F major, Op. 38, bars 1–6.

Example 45.I. J. Paderewski, Miscellanea. Série de morceaux pour piano, Op. 16, Mélodie in G flat major, bars 1–8.

Example 46.I. J. Paderewski, Miscellanea. Série de morceaux pour piano, Op. 16, Nocturne in B flat major, bars 1–7.

Example 47.I. J. Paderewski, Canzone, bars 124–135.

Example 48.I. J. Paderewski, Miscellanea. Série de morceaux pour piano, Op. 16, Thème varié in A major, bars 1–5.

Example 49.I. J. Paderewski, Sonata in A minor, Op. 13, movt I, coda, bars 303–306.

Example 50.I. J. Paderewski, Piano Concerto in A minor, Op. 17, movt I, bars 1–13.

Example 51.I. J. Paderewski, Piano Concerto in A minor, Op. 17, movt II, Romanze, bars 14–19.

Example 52.I. J. Paderewski, Violin Concerto in G minor, movt I, solo part.

Example 53.I. J. Paderewski, Violin Concerto in G minor, movt IV (‘to the finale…’), bars 1–8. ← 315 | 316 →

Example 54.I. J. Paderewski, Fantaisie polonaise in G flat minor, Op. 19, bars 1–7.

Example 55.a) I. J. Paderewski, Fantaisie polonaise in G flat minor, Op. 19, bar 11; b) F. Liszt, Hungarian Rhapsody No. 10, bars 81–82.

Example 56.I. J. Paderewski, Fantaisie polonaise in G flat minor, Op. 19, bars 281–292.

Example 57.I. J. Paderewski, Fantaisie polonaise in G flat minor, Op. 19, bars 563–566.

Example 58.I. J. Paderewski, Six Songs for voice and piano, Op. 18, ‘Polały się łzy’ [Tears have flowed], bars 24–28.

Example 59.I. J. Paderewski, Six Songs for voice and piano, Op. 18, ‘Nad wodą wielką’ [Upon the water great], bars 84–96.

Example 60.I. J. Paderewski, Dans le désert. Tableau musical en forme d’une toccata, Op. 15, hemitonicisation as part of expanded major-minor tonality, bridge, bars 14–20.

Example 61.I. J. Paderewski, Manru, Op. 20, dance motif and Hedwig’s motif, Act I, scene i, bars 1–5.

Example 62.I. J. Paderewski, Manru, Op. 20, Ulana’a motif, Act I, scene iv, no. 11.

Example 63.I. J. Paderewski, Manru, Op. 20, Act II, scene ii, no. 32.

Example 64.I. J. Paderewski, Manru, Op. 20, anvil motif, Act II, scene ii.

Example 65.I. J. Paderewski, Sonata in E flat minor, Op. 21, bars 1–5.

Example 66.I. J. Paderewski, Sonata in E flat minor, Op. 21, movt II, bars 1–12.

Example 67.a) F. Chopin, Scherzo in B minor, bars 1–11; b) I. J. Paderewski, Sonata in E flat minor, Op. 21, bars 1–9.

Example 68.I. J. Paderewski, Variations et fugue in E flat minor, Op. 23, Var. XV, bars 480–482.

Example 69.I. J. Paderewski, Variations et fugue in E flat minor, Op. 23, Var. XVI, bars 523–524.

Example 70.I. J. Paderewski, ‘Dans la forêt’ (to words by T. Gautier), bars 1–5.

Example 71.I. J. Paderewski, Douze Mélodies, Op. 22, ‘Dans la forêt (Clair de lune)’, bars 1–3.

Example 72.a) I. J. Paderewski, Douze Mélodies, Op. 22, ‘Le ciel est très bas’, bars 1–9; b). H. Duparc, ‘Romance de Mignon’. ← 316 | 317 →

Example 73.a) I. J. Paderewski, Douze Mélodies, Op. 22, ‘Elle marche d’un pas distrait’, bars 1–14; b) G. Fauré, ‘Chant d’automne’.

Example 74.Illustration of a procession: a) I. J. Paderewski, Douze Mélodies, Op. 22, ‘La nonne’, bars 28–32; b) C. Franck, ‘La procession’.

Example 75.I. J. Paderewski, Douze Mélodies, Op. 22, ‘Lune froide’, bars 1–6.

Example 76.A. Grottger, Polonia – title page of cycle of drawings.

Example 77.A. Grottger, Polonia, XI. ‘Na pobojowisku’ [After the battle].

Example 78.J. Matejko, 1863 – Polonia; held in the collection of the Princes Czartoryski Foundation

Example 79.I. J. Paderewski, Symphony in B minor (‘Polonia’), Op. 24, movt I, principal theme, bars 1–6.

Example 80.I. J. Paderewski, Symphony in B minor (‘Polonia’), Op. 24, movt I, bars 44–48.

Example 81.I. J. Paderewski, Symphony in B minor (‘Polonia’), Op. 24, movt I, bars 38–43.

Details

Pages
317
Year
2015
ISBN (PDF)
9783653052374
ISBN (ePUB)
9783653968620
ISBN (MOBI)
9783653968613
ISBN (Hardcover)
9783631662151
DOI
10.3726/978-3-653-05237-4
Language
English
Publication date
2015 (April)
Keywords
Moderne Interpretation Romantik historische Rezeption
Published
Frankfurt am Main, Berlin, Bern, Bruxelles, New York, Oxford, Wien, 2015. 317 pp., 85 b/w fig., 1 table

Biographical notes

Bogusław Raba (Author)

Bogusław Raba is a musicologist and concert-organist. He graduated from the Academy of Music in Wrocław (Poland) majoring in Music Theory and Organ. Afterwards he worked as a lecturer at the Academy of Music and is currently an assistant professor at the Department of Musicology of the University of Wrocław.

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