| dc.description.abstract | In the 1970s, historically informed performance practice became a major movement
which involved performers and musicologists alike. Earlier, historically informed
performances and scholarship focused on Baroque repertoires as well as music of the
Renaissance and earlier periods, whereas later studies expanded this scope to include
Classical, Romantic, and Modern works, although much work remains to be done in
this regard. With regard to Frédéric Chopin’s works, specifically his Op. 10 Études,
make an ideal focal point for this type of study: they are of both musical and
pedagogical interest, and research gives an insight into manifold aspects such as
current performance traditions at the time, instrument construction and playing
techniques. Recent research has addressed some of these issues in isolation, but no
scholar has yet discussed historically informed performance in relation to this set of
pieces.
Chapter 1 provides a background survey of the historically informed performance
movement and demonstrates how a historically informed performance offers one
option for performers to interpret piano repertoire. In Chapter 2, the focus turns to
Chopin, examining his musical training and career with regard to his individual style
and contributions to the genre of the piano etude. In Chapter 3, common performance
variables, including articulation, dynamics, tempo and ornaments, are discussed from
a historical standpoint and illustrates each of the variables by reference to passages
from this set of twelve studies. Chapter 4 consists of specific case studies that apply
information from all of the preceding chapters. By studying existing primary sources
as well as performing the études on Chopin’s own pianos, this dissertation explores
how these works might have been performed in Chopin’s time while providing a set
of guidelines for pianists with which they may develop their individual interpretation
of Chopin’s first set of études. | en |
