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The Use of the Polish Folk Music Elements and the Fantasy Elements in the Polish Fantasy on Original Themes in G-sharp Minor for Piano and Orchestra, Opus 19 by Ignacy Jan Paderewski

Description: The primary purpose of this study is to address performance issues in the Polish Fantasy, Op. 19, by examining characteristics of Polish folk dances and how they are incorporated in this unique work by Paderewski. The study includes a comprehensive history of the fantasy in order to understand how Paderewski used various codified generic aspects of the solo piano fantasy, as well as those of the one-movement concerto introduced by nineteenth-century composers such as Weber and Liszt. Given that the Polish Fantasy, Op. 19, as well as most of Paderewski's compositions, have been performed more frequently in the last twenty years, an analysis of the combination of the three characteristic aspects of the Polish Fantasy, Op.19 - Polish folk music, the generic rhetoric of a fantasy and the one-movement concerto - would aid scholars and performers alike in better understanding the composition's engagement with various traditions and how best to make decisions about those traditions when approaching the work in a concert setting. Chapter 1 provides biographical and factographical information about Paderewski as a composer, pianist, and statesman. Chapter 2 examines characteristics of Polish folk music with regard to melody, rhythm and tempo. Musical examples of the Polish folk songs from the book Lud by Oskar Kolberg, and the characteristics of Mazur, Kujawiak, Oberek and the Krakowiak, all of which are used in the Polish Fantasy, are examined. Aforementioned examples are paralleled by those selected from Chopin's Mazurkas, as well as selected sections from Paderewski's Polish Fantasy, and other pieces by Paderewski containing Polish folk music elements. Chapter 3 is divided into two sections. The first, the history of fantasy, presents various stylistic and formal aspects of the fantasies of the eighteenth century and nineteenth centuries. The second section offers an analysis of the Polish Fantasy in light of this ...
Date: May 2007
Creator: Choi, Yun Jung
Partner: UNT Libraries

Ignacy Jan Paderewski's Sonata in E-Flat Minor, Op. 21: Insights into his compositional technique and performance style.

Description: The recordings of the legendary pianist Ignacy Jan Paderewski are a valuable documentation of his piano performance style. Knowledge of late-Romantic performance practices gleaned from Paderewski's recordings suggest ways of approaching the performance of his Sonata in E-Flat Minor, Op. 21. This Sonata, composed in 1903 near the end of his compositional career, is a work of the highest caliber, deserving a permanent place in the concert pianist's repertoire. The purpose of this paper is to provide performance suggestions based on Paderewski's performance style which will produce a performance closer to the spirit of the times in which it was written. This study provides an overview of the project in Chapter 1, and a background of Paderewski's life as pianist, composer, and statesman in Chapter 2. A time-line chart of his complete works is included for reference. Chapter 3 analyzes Sonata, Op. 21 in regards to form, sound, melody, harmony, and rhythm. Following the analysis, the Sonata is compared compositionally to sonatas that appear alongside Sonata, Op. 21 on Paderewski's programs, including those by Chopin, Beethoven, and Liszt. Graphs summarize the form and dynamic density of the Sonata, and examples illustrate Paderewski's craft at thematic transformation. Chapter 4 examines Paderewski's performance style documented in recordings of his own compositions and of works by Chopin, Schumann, Liszt, and Beethoven. Consideration is given to various aspects of interpretation, including counterpoint, asynchrony, tempo rubato, rhythmic variance, and pedaling. Each of these aspects of Paderewski's performance style is illustrated with transcriptions of excerpts from Paderewski's recordings. The author proposes examples of application of these aspects to Paderewski's Sonata, Op. 21. Chapter 5 provides a summary of the project. Appendix A contains an analysis of the rhythmic grouping that performers may find useful, and Appendix B contains the recital programs required for the degree program.
Date: May 2003
Creator: Nelson, Anne Marie
Partner: UNT Libraries

[Letter from Linnet Moore to the Moore family, March 7, 1900]

Description: Letter written by Linnet Moore and addressed to the Moore family and Willie. In this letter, Linnet informs the Moore family of the goings-on in Austin during her visit. She apologizes for not writing a soon as she arrived and details the exercise at the University on the state's Independence Day. She notes the day's events and mentions that her and Lula will go to hear Paderewski tomorrow night. She closes the letter by noting her trip to Austin was a good one and states that her parents must write to her. The envelope is included with the letter.
Date: March 2, 1900
Creator: Moore, Linnet
Partner: UNT Libraries Special Collections

[Letter from Linnet Moore to the Moore family, March 7, 1900]

Description: Letter written by Linnet Moore and addressed to the Moore family and Willie. In this letter, Linnet informs the Moore family of the goings-on during her trip to visit Lula Dalton in Austin. She discusses her attendance of the Paderewski concert, details how wonderful it was to see him play, and mentions that they were up at the train station on Sunday morning visiting with friends from Burnet who also saw the concert. She details the day's events on Monday and notes that they have gone to town and plan to go again. She closes the letter by stating that the Moore family must write her soon with all the news. The envelope is included with the letter.
Date: March 7, 1900
Creator: Moore, Linnet
Partner: UNT Libraries Special Collections