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Essay / Research Paper Abstract
An 10 page comparative analysis on Chopin's Prelude Op. 28 No. 4 on editions of the piece by arranger/artists Autograf, Paderewski, Augener, Allans, and Henle. The paper analyzes this piece in conjunction with phrasing, pedal and dynamic markings, tempo indicators, and several of the notes themselves. This paper also has a short discussion on critics of the time, today's critics, and a comparison of two audio discs. Bibliography lists 8 sources .
Page Count:
10 pages (~225 words per page)
File: D0_Chopinpr.doc
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Unformatted sample text from the term paper:
and discordance. Others take into account the original storm brewing in Europe in 1831, the cholera epidemic in Paris during Chopins visit and his failing health fifteen years later
and apply his expressive attitude to the piece. Others drown out the entire piece by running the 2/8 timing into 2/9 liturgies of smoothness, or by utilizing heavy pedaling
and other ornamentations. However, all interpretations fall into Chopins designation of the piece as an improvisational piece to be used to introduce and prepare the fingers-on-keyboard for larger works.
Although Chopin and his contemporaries (Lizst, a good friend, and Shumann, a very critical adversary) held this belief, it was not supported by the critics of his day, who saw
the Preludes as full works within themselves, despite Chopins and his contemporaries views to the opposite. This view has been interpreted and reinterpreted since Romantic times, but the final
answer lies in an artists rendering of Chopins Prelude Op. 28. Background When Hitler was gearing up for his rampage, Frederyk Chopin, a supporter of Hitler, left Poland amid
the chaos and traveled to Paris seeking to find piano students among the aristocracy there. However, in 1931 there was a cholera epidemic in Paris and Chopin did not
find more than two clients that year. As a result, he sought to hold concerts as a means of support and he held three concerts in Paris that
year, two at the British Embassy (1). At this time, he introduced his Preludes to Paris, including Prelude Op. 28, which he dedicated to the piano manufacturer Camille Pleyel
(2). Perhaps this is because his Polonaise was played on six pianos by himself, Lizst, Hiller, and others (3) The polyphonic Preludes presented, 5, 25 and 28, were received
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