Chopin

John Rink is Professor of Musical Performance Studies at the University of Cambridge, UK. He directs the Chopin Online projects and The Complete Chopin - A New Critical Edition; he is also an internationally acclaimed expert on the Chopin sources and on analytical and performance approaches to the composer's music.

• Acknowledgements -- Series Preface -- Introduction -- Part I: Historical perspectives -- 1. Jolanta T. Pekacz, ‘The nation’s property: Chopin’s biography as a cultural discourse’, in Jolanta T. Pekacz (ed.), Musical Biography: Towards New Paradigms (Aldershot: Ashgate, 2006), pp. 43–68 -- 2. Józef Chomiński, ‘Die Evolution des Chopinschen Stils’, in Zofia Lissa (ed.), The Book of the First International Musicological Congress Devoted to the Works of Frederick Chopin (Warsaw: Państwowe Wydawnictwo Naukowe, 1963), pp. 44–52 -- 3. Mieczysław Tomaszewski, ‘Chopin’s inspiration from Polish “common song”’, in Artur Szklener (ed.), Chopin’s Work: His Inspirations and Creative Process in the Light of the Sources (Warsaw: Narodowy Instytut Fryderyka Chopina), pp. 43–53 -- 4. Barbara Milewski, ‘Chopin’s mazurkas and the myth of the folk’, 19th-Century Music 23 /2 (1999), pp. 113–135 -- 5. Ludwik Bronarski, ‘La “dernière” mazurka de Chopin’, in Ludwik Bronarski, Etudes sur Chopin (Lausanne: Editions La Concorde, 1944), pp. 165–175 -- 6. Karol Berger, ‘Chopin’s Ballade Op. 23 and the revolution of the intellectuals’, in John Rink and Jim Samson (eds.), Chopin Studies 2 (Cambridge: Cambridge University Press, 1994), pp. 72–83 -- 7. Anselm Gerhard, ‘Ballade und Drama’, Archiv für Musikwissenschaft 48 (1991), pp. 110–125 -- 8. James W. Davison, An Essay on the Works of Frederic Chopin (London: Wessel & Co. [1843]) -- Part II: Source studies -- 9. John Rink, ‘Playing with the Chopin sources’, in Irena Poniatowska (ed.), Jan Ekier: artysta stulecia w darze Chopinowi (Warsaw: Narodowy Instytut Fryderyka Chopina, 2013), pp. 171–185 -- 10. Wojciech Nowik, ‘The receptive-informational role of Chopin’s musical autographs’, in Dariusz Żębrowski (ed.), Studies in Chopin (Warsaw: Towarzystwo im. Fryderyka Chopina, 1973), pp. 77–89 -- 11. Jeffrey Kallberg, ‘Chopin and the aesthetic of the sketch: a new Prelude in E-flat minor?’, Early Music 29 (2001), pp. 408–422 -- 12. Jan Ekier, ‘On questions relating to the chronology of Chopin’s works. Methods. A few examples concerning compositions from the last period’, in Artur Szklener (ed.), Chopin’s Musical Worlds: The 1840s (Warsaw: Narodowy Instytut Fryderyka Chopina, 2008), pp. 169–188 -- 13. Charles Rosen, ‘The first movement of Chopin’s Sonata in B-flat minor, Op. 35’, 19th-Century Music 14 /1 (1990), pp. 60–66 -- 14. Maurice J. E. Brown, ‘The posthumous publication of Chopin’s songs’, Musical Quarterly 42 (1956), pp. 51–65 -- 15. Christophe Grabowski, ‘Wessel’s Complete Collection of the Compositions of Frederic Chopin: the history of a title-page’, Early Music 29 (2001), pp. 424–433 -- Part III: Performance studies -- 16. Dana Gooley, ‘Between esprit and génie – Chopin in the field of performance’, in Artur Szklener (ed.), Chopin’s Musical Worlds: The 1840s (Warsaw: Narodowy Instytut Fryderyka Chopina, 2008), pp. 141–156 -- 17. James Methuen-Campbell, Chopin Playing from the Composer to the Present Day (London: Gollancz, 1981): Chapter 1, ‘The playing of Chopin and his contemporaries’, pp. 26–44 -- 18. David Rowland, ‘Chopin’s tempo rubato in context’, in John Rink and Jim Samson (eds.), Chopin Studies 2 (Cambridge: Cambridge University Press, 1994), pp. 199–213 -- 19. Thomas Higgins, ‘Tempo and character in Chopin’, Musical Quarterly 59 (1973), pp. 106–120 -- 20. Sandra Rosenblum, ‘Some enigmas of Chopin’s pedal indications: what do the sources tell us?’, Journal of Musicological Research 16 (1996), pp. 41–61 -- 21. Nicholas Cook, ‘Performance analysis and Chopin’s mazurkas’, in Artur Szklener (ed.), Chopin in Paris: The 1830s (Warsaw: Narodowy Instytut Fryderyka Chopina, 2008), pp. 121–141 -- Part IV: Analysis, aesthetics, reception -- 22. Jim Samson, ‘Chopin and genre’, Music Analysis 8 /3 (1989), pp. 213–231 -- 23. Zofia Chechlińska, ‘Scherzo as a genre – selected problems’, Chopin Studies, vol. 5 (Warsaw: Towarzystwo im. Fryderyka Chopina, 1995), pp. 165–173 -- 24. John Rink, ‘Chopin’s ballades and the dialectic: analysis in historical perspective’, Music Analysis 13 (1994), pp. 99–115 -- 25. Donald Francis Tovey, Essays in Musical Analysis, 6 vols. (London: Oxford University Press, 1936): ‘Concertos’, vol. 3, pp. 103–106 -- 26. Felix Salzer, ‘Chopin’s Etude in F major, Opus 25, No. 3’, in The Music Forum, vol. 3 (New York: Columbia University Press, 1973), pp. 281–290 -- 27. Gastone Belotti, ‘L’asimmetria ritmica nella mazurca chopiniana’, Nuova Rivista Musicale Italiana 5 /4–5 (1971), pp. 657–668, 827–846 -- 28. William Rothstein, ‘Phrase rhythm in Chopin’s nocturnes and mazurkas’, in Jim Samson (ed.), Chopin Studies (Cambridge: Cambridge University Press, 1988), pp. 115–141 -- 29. Jean-Jacques Eigeldinger, ‘Chopin and “La note bleue”: an interpretation of the Prelude Op. 45’, Music & Letters 78 /2 (1997), pp. 233–253 -- 30. Lawrence Kramer, ‘Romantic meaning in Chopin’s Prelude in A minor’, 19th-Century Music 9 /2 (1985), pp. 145–155 -- 31. Rose Rosengard Subotnik, ‘On grounding Chopin’, in Richard Leppert and Susan McClary (eds.), Music and Society: The Politics of Composition, Performance and Reception (Cambridge: Cambridge University Press, 1987), pp. 105–131 -- Part V: Epilogue -- 32. Frederick Niecks, Frederick Chopin as a Man and Musician, 3rd edn, 2 vols. (London: Novello, Ewer and Co., 1902): ‘Epilogue’, vol. 2, pp. 328–333 -- Index.