PREFACE
Acknowledgments
INTRODUCTION: "Chopin Then and Now: A Fantasy" Daniel Stone
PART I. Memories, Images, and Dreams
1. "Chopin at Home" Bozena Shallcross
2. "Delacroix's Portrait of Chopin as a Surrogate Self-Portrait"
John Nici
3. "The Monument of Fryderyk Chopin: Concepts and Reality" Waldemar
Okon
4. "'Remembering that tale of grief': The Prophetic Voice in
Chopin's Music" Halina Goldberg
PART II. Analytical Perspectives
5. "Idiosyncrasies of Phrase Rhythm in Chopin's Mazurkas" Carl
Schachter
6. "Dance and the Music of Chopin: The Waltz" Eric McKee
7. "Chopiniana and Music's Contextual Allusions" Marianne
Kielian-Gilbert
PART III. Gender, Genre, Genius
8. "'Nuit plus belle qu'un beau jour': Poetry, Song, and the Voice
in the Piano Nocturne" James Parakilas
9. "Gender and Genius in Post-revolutionary France: Chopin and
Sand" Whitney Walton
PART IV. Chopin Appropriated
10. "Chopin Reception as Reflected in Nineteenth-Century Polish
Periodicals: General Remarks" Zofia Chechlinska
11. "The Polish Reception of Chopin's Biography by Franz Liszt"
Irena Poniatowska
12. "Chopin and the 'Polish Race': On National Ideologies and
Chopin Reception" Maja Trochimczyk
13. "'A composer known here but to few': Reception and Performance
Styles of Chopin's Music in America, 1839-1900" Sandra P.
Rosenblum
Contributors
Index
Leading international scholars uncover the political, social, and aesthetic backdrop to Chopin's life and works.
Halina Goldberg is Assistant Professor of Musicology at Indiana University. Her research centers on the musical and cultural environment of Chopin's Warsaw, performance practice issues, questions of reception, and the musical, social, and political creation of national constructs.
Emanating from a 1999 interdisciplinary conference at Indiana
University, Bloomington, these 13 essays are grouped under four
headings: Memories, Images, and Dreams, Analytical Perspectives,
Gender, Genre, Genius, and Chopin Appropriated. Likely of interest
to inexperienced readers will be the comparison of Eugène (Eugene)
Delacroix's 1837 self-portrait with his incomplete 1838 portrait of
Chopin; the history of Waclaw Szymanowski's Chopin monument in
Warsaw, which was unveiled in 1926, destroyed by the Germans in
1940, and reconstructed in 1958; the reception of Chopin's music
with its national character as reflected in 19th-century Polish
periodicals; and the spreading popularity of Chopin's music in the
US from 1839 to 1900. More specialized essays propose that waltzes
Chopin chose to publish were those depicting dancers' physical
motions; describe contexts in which Chopin's music is found in
ballet, cinema, and television; and examine the Polish spirit,
Polish race, and Chopin as a wieszes, or prophet/patriot. Other
articles propose that the forerunner of Chopin's nocturnes was the
Italian vocal nocturne and investigate the meanings of 19th-century
French thinking and whether it was exclusively masculine. Summing
Up: Recommended. Upper-division undergraduates through faculty;
general readers.December 2004
*The Glenn Gould School, The Royal Conservatory of Music*
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