Nosso trabalho consiste na análise das indicações de pedal encontradas nos Prelúdios op. 28 de F. Chopin. A ideia desta pesquisa surgiu através de comparações entre diferentes edições das obras do compositor, onde encontramos grande incompatibilidade referente às indicações de utilização do pedal de Chopin com as de alguns editores. Percebemos que sua pedalização foi ignorada ou alterada por muitos revisores, que optaram por empregar uma indicação padrão de pedal. O nosso trabalho está divido em três capítulos. No primeiro faremos um breve histórico do emprego e escrita para o pedal desde os seus primórdios até os dias de hoje. No segundo capítulo trataremos da escrita para pedal de Chopin, onde abordaremos a linguagem adotada pelo compositor e suas especificidades. O terceiro capítulo será dedicado à análise das indicações de pedal dos 24 Prelúdios op. 28 encontradas no manuscrito autógrafo. / This study consists of a research about the pedal indications by F. Chopin and more specifically those founds in his Preludes op. 28. The idea for this research came through the comparisons of different editions of the composer\'s work, where we found great inconsistency regarding indications of Chopin on using the pedal. Chopin\'s pedaling was ignored or altered by many reviewers, who often chose to employ a standard indication. The work is divided into three chapters. The first presents a brief history of employment and notation for the pedal from its beginnings until the present day. The second deals with how Chopin wrote his pedaling, where we discuss the language adopted by the composer and their specificities. The third chapter is devoted to the analysis of the indications of the pedal found in the autograph manuscript of the 24 Preludes op. 28. These statements seek to be understood not only by the intrinsic characteristics of each musical excerpt, but also through comparison with other editions of the work and based on the literature on the subject.

Nosso trabalho consiste na análise das indicações de pedal encontradas nos Prelúdios op. 28 de F. Chopin. A ideia desta pesquisa surgiu através de comparações entre diferentes edições das obras do compositor, onde encontramos grande incompatibilidade referente às indicações de utilização do pedal de Chopin com as de alguns editores. Percebemos que sua pedalização foi ignorada ou alterada por muitos revisores, que optaram por empregar uma indicação padrão de pedal. O nosso trabalho está divido em três capítulos. No primeiro faremos um breve histórico do emprego e escrita para o pedal desde os seus primórdios até os dias de hoje. No segundo capítulo trataremos da escrita para pedal de Chopin, onde abordaremos a linguagem adotada pelo compositor e suas especificidades. O terceiro capítulo será dedicado à análise das indicações de pedal dos 24 Prelúdios op. 28 encontradas no manuscrito autógrafo. / This study consists of a research about the pedal indications by F. Chopin and more specifically those founds in his Preludes op. 28. The idea for this research came through the comparisons of different editions of the composer\'s work, where we found great inconsistency regarding indications of Chopin on using the pedal. Chopin\'s pedaling was ignored or altered by many reviewers, who often chose to employ a standard indication. The work is divided into three chapters. The first presents a brief history of employment and notation for the pedal from its beginnings until the present day. The second deals with how Chopin wrote his pedaling, where we discuss the language adopted by the composer and their specificities. The third chapter is devoted to the analysis of the indications of the pedal found in the autograph manuscript of the 24 Preludes op. 28. These statements seek to be understood not only by the intrinsic characteristics of each musical excerpt, but also through comparison with other editions of the work and based on the literature on the subject.

O presente trabalho consiste no estudo dos aspectos interpretativos relacionados à execução dos 24 Prelúdios Op. 28 de Chopin. Por meio de análises musicais e bibliográficas da obra, do estudo do ciclo ao piano, bem como da comparação crítica de diferentes edições e gravações disponíveis dos Prelúdios, esta pesquisa apresenta reflexões técnico-interpretativas que envolvem a construção da performance da obra, considerando as tradições interpretativas em Chopin. Foram utilizadas fontes primárias dos Prelúdios como os manuscritos autógrafos, sketches, cópias manuscritas, primeiras edições e partituras anotadas de alunos de Chopin. As análises realizadas dos parâmetros da escrita do compositor permitiram uma melhor compreensão de seu estilo e linguagem, o que se aplica não apenas aos Prelúdios, mas também à performance de qualquer uma de suas obras. Além disso, alguns trechos dos Prelúdios foram executados em um piano histórico, Érard de cordas paralelas, para fins de contextualizar a performance e recriar efeitos sonoros semelhantes em pianos modernos, sobretudo no que se refere à pedalização. A partir disso, vários aspectos interpretativos da obra foram esclarecidos e explicitados, como a utilização do pedal longo para efeitos timbrísticos, a execução simultânea do ritmo pontuado do Prelúdio n. 9, a conotação expressiva dos acentos longos, a concepção de Chopin aos andamentos Lento, Largo, Andante e Vivace, as ocasiões em que o termo stretto não significa acelerar, a questão da fórmula de compasso original 3/2 que promove fluência ao n. 13, entre outros. Assim, o trabalho apresenta diversas possibilidades interpretativas que só foram possíveis por meio da investigação minuciosa e profunda de fontes originais e experimentação em piano de época. O trabalho divide-se em dois capítulos, sendo o primeiro referente a tópicos gerais como articulação, dinâmica, agógica (rubato), ornamentos, dedilhado, pedal e piano Pleyel. Já o segundo capítulo contempla os aspectos técnico-interpretativos dos 24 Prelúdios. / This research studies the interpretive aspects related to the performance of Chopin´s 24 Preludes Op. 28. Through the analysis of the musical text, bibliographical material, study of the piece at the piano, and comparison of different editions and recordings of the Preludes, this work offers reflections on the technical-interpretive features involved in performing the Op. 28 considering Chopin´s interpretational traditions. By using the primary sources of the Preludes such as autographs, sketches, first editions, and Chopin´s pupils annotated copies, we investigate the composer´s writing aspects in order to promote a better understanding of his musical style, which applies to the performance of the Op. 28 itself as well as any other piece by the composer. Furthermore, parts of the Preludes were played in a historical piano, a 19th century Érard with parallel strings, in order to contextualize the performance and to recreate similar sound effects in modern pianos, notably regarding pedaling. From that, several interpretive aspects of the piece were clarified and made explicit, such as the use of long pedal for color effects; the simultaneous attack for the dotted rhythmic figure in Prelude n. 9; the meaning of long accents; the composer´s conception for some tempo markings; when stretto does not mean to accelerate; the case of the originally notated time signature 3/2 in n. 13, among others. Thus, this study offers several interpretive possibilities achieved only by means of a meticulous and deep research work that investigates the original sources and experimentation in historical pianos. The study presents two chapters, the first one addressing topics such as articulation, dynamics, agogic (rubato), ornaments, fingering, pedal, and Pleyel pianos. The second chapter is dedicated to the technical-interpretive elements in the 24 Preludes.

O presente trabalho consiste no estudo dos aspectos interpretativos relacionados à execução dos 24 Prelúdios Op. 28 de Chopin. Por meio de análises musicais e bibliográficas da obra, do estudo do ciclo ao piano, bem como da comparação crítica de diferentes edições e gravações disponíveis dos Prelúdios, esta pesquisa apresenta reflexões técnico-interpretativas que envolvem a construção da performance da obra, considerando as tradições interpretativas em Chopin. Foram utilizadas fontes primárias dos Prelúdios como os manuscritos autógrafos, sketches, cópias manuscritas, primeiras edições e partituras anotadas de alunos de Chopin. As análises realizadas dos parâmetros da escrita do compositor permitiram uma melhor compreensão de seu estilo e linguagem, o que se aplica não apenas aos Prelúdios, mas também à performance de qualquer uma de suas obras. Além disso, alguns trechos dos Prelúdios foram executados em um piano histórico, Érard de cordas paralelas, para fins de contextualizar a performance e recriar efeitos sonoros semelhantes em pianos modernos, sobretudo no que se refere à pedalização. A partir disso, vários aspectos interpretativos da obra foram esclarecidos e explicitados, como a utilização do pedal longo para efeitos timbrísticos, a execução simultânea do ritmo pontuado do Prelúdio n. 9, a conotação expressiva dos acentos longos, a concepção de Chopin aos andamentos Lento, Largo, Andante e Vivace, as ocasiões em que o termo stretto não significa acelerar, a questão da fórmula de compasso original 3/2 que promove fluência ao n. 13, entre outros. Assim, o trabalho apresenta diversas possibilidades interpretativas que só foram possíveis por meio da investigação minuciosa e profunda de fontes originais e experimentação em piano de época. O trabalho divide-se em dois capítulos, sendo o primeiro referente a tópicos gerais como articulação, dinâmica, agógica (rubato), ornamentos, dedilhado, pedal e piano Pleyel. Já o segundo capítulo contempla os aspectos técnico-interpretativos dos 24 Prelúdios. / This research studies the interpretive aspects related to the performance of Chopin´s 24 Preludes Op. 28. Through the analysis of the musical text, bibliographical material, study of the piece at the piano, and comparison of different editions and recordings of the Preludes, this work offers reflections on the technical-interpretive features involved in performing the Op. 28 considering Chopin´s interpretational traditions. By using the primary sources of the Preludes such as autographs, sketches, first editions, and Chopin´s pupils annotated copies, we investigate the composer´s writing aspects in order to promote a better understanding of his musical style, which applies to the performance of the Op. 28 itself as well as any other piece by the composer. Furthermore, parts of the Preludes were played in a historical piano, a 19th century Érard with parallel strings, in order to contextualize the performance and to recreate similar sound effects in modern pianos, notably regarding pedaling. From that, several interpretive aspects of the piece were clarified and made explicit, such as the use of long pedal for color effects; the simultaneous attack for the dotted rhythmic figure in Prelude n. 9; the meaning of long accents; the composer´s conception for some tempo markings; when stretto does not mean to accelerate; the case of the originally notated time signature 3/2 in n. 13, among others. Thus, this study offers several interpretive possibilities achieved only by means of a meticulous and deep research work that investigates the original sources and experimentation in historical pianos. The study presents two chapters, the first one addressing topics such as articulation, dynamics, agogic (rubato), ornaments, fingering, pedal, and Pleyel pianos. The second chapter is dedicated to the technical-interpretive elements in the 24 Preludes.

abstract: Pursuit of an informed approach to interpreting Frédéric Chopin’s music has been increasingly challenging in the twenty-first century. In the process of forming their unique voices, pianists turn to the sound recordings of some of the most notable pianistic figures in history. This document offers a detailed inspection of three revered recordings and, with the help of syntactic analysis, seeks an understanding of the extraordinary interpretational decisions of Alfred Cortot, Arthur Rubinstein and Dinu Lipatti. The examined works are Chopin’s Prelude in C Major, Op. 28, No. 1, and the Largo of the Sonata in B Minor, Op. 58. The analysis of the Prelude compares recorded performances of Alfred Cortot (ca. 1933-1934) and Arthur Rubinstein (ca. 1946) and explains how their vastly different interpretational choices can, through an analytical process, be traced to the harmonic and melodic implications of the score. Likewise, inspection of the Largo focuses on Dinu Lipatti’s performance (ca. 1947) and draws connections between his phrasing and critical characteristics of the movement. All three performances present exquisite examples of a style of expressive playing that seems to have fallen into disuse in the twenty-first century. This study contributes to a deeper understanding of the performing style of Cortot, Rubinstein, and Lipatti, and also seeks to show connections between score analysis and interpretational decisions. / Dissertation/Thesis / Doctoral Dissertation Music 2020

This thesis examines Beethoven’s Op. 28 Pastoral Sonata as a musical work that is dominated by the pastoral topic, and, through its use of this topic, refers to certain ideals of the Enlightenment. The first chapter presents an overview of the sonata and its relative neglect by modern musicologists, followed by a brief history of the pastoral topic in music and literature. The second chapter examines, and provides examples of, the pastoral signifiers that occur in the Op. 28 sonata: drone bass, compound meter, subdominant emphasis, simple harmonies, lyrical melodies and the weathered storm. The third chapter summarizes aspects of the Enlightenment that influenced Beethoven, and his use of the pastoral topic to communicate these ideals. The primary arguments put forward are: the Op. 28 Sonata demonstrates aspects of reconciliation between the urban and the rural as a metaphor for the reconciliation between man and God; Beethoven uses dance as symbol of both pastoral and of fraternity in the sonata; and the Enlightenment concept of interconnectedness between all things is reflected in the musical motives and structure of the composition. The thesis concludes by suggesting that the sonata’s message may have been obscured over time because of changes in Beethoven reception history, the gendering of his repertoire, and the shifting perception of what nature signifies as the Romantic Era developed. / Graduate

The preludes as a whole do not conform to any specific formal mold, but offer a variety of form: binary, ternary, one-part, and five-part. As such, no new formal structures have been introduced by this "first" of the nineteenth century and twentieth century "disconnected" preludes. On the other hand, they are a heterogenous collection of styles, moods, and forms--a precedent that was followed by Debussy, Rachmoninoff, and various others. To determine the degree to which Chopin was harmonically advanced would require comparative analyses of works by his contemporaries and later nineteenth-century composers. Suffice it to say that one would be hard put to locate a collection of compositions of similar length and scope, written in the 1820's, that contains the wealth of harmonic innovations found within Opus 28.

Master of Music / Department of Music / Slawomir P. Dobrzanski / The following report analyzes compositions performed at the author’s Master’s Piano Recital on March 15, 2012. The discussed pieces are Johann Sebastian Bach’s Toccata in G major, BWV 916; Ludwig van Beethoven’s Sonata in E flat major, op. 31, no. 3; Frederic Chopin’s Ballade in F minor, op. 52; Leoš Janáček’s In The Mists: I. Andante, III. Andantino; and Sergei Prokofiev’s Sonata in A minor, op. 28. The author approaches the study from the historical, theoretical, stylistic and pedagogical perspectives.

The purpose of this thesis is to introduce a musical work of one of the world's most favorite composers of the 20th century - Sergej Prokofiev. Even though I would like to address all his pieces, given the extensiveness of his work and my profession as a pianist and a pedagogue, I decided to focus only on the pieces for solo piano. I detail each piano piece in a catalogue organized by opus number. My analysis focuses on compositions, eventually on cycles, which can be somehow beneficial to us. Beneficial, in this sense means exposure to pieces with variety of character, use of melody and eventually pieces from a various work periods. Another condition during a selection of pieces for my dissertation was various levels of difficulty. The majority of my thesis is dedicated to the piano sonatas. Although they are not very long, they belong to the piano masterpieces forever. Further, I mention less performed Etudes, Op. 2 and Visions fugitives, Op. 22, and on the other hand well known Suit from Romeo and Juliet, Op. 75. The music for children is represented in my analysis by one piece only - Children's Songs, Op. 65. Prokofiev wrote nearly 40 opuses for piano, which makes up almost a third of his work. That is a remarkable number and these pieces are worth interest.