{"title":"Review of Alexander Stefaniak Schumann’s Virtuosity: Criticism, Composition, and Performance in Nineteenth-Century Germany","authors":"N. Marston","doi":"10.56693/cr.114","DOIUrl":"https://doi.org/10.56693/cr.114","url":null,"abstract":"","PeriodicalId":430697,"journal":{"name":"Chopin Review","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114935092","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Review of Chopin’s Polish Letters tr. David Frick","authors":"J. Coleman","doi":"10.56693/cr.107","DOIUrl":"https://doi.org/10.56693/cr.107","url":null,"abstract":"","PeriodicalId":430697,"journal":{"name":"Chopin Review","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121192358","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Review of Claude Montal The Art of Tuning: A Self-Guided Manual for Piano Tuning, Design, Action Regulation, and Repair from mid-19th-Century France translated by Fred Sturm","authors":"David L. Rowland","doi":"10.56693/cr.126","DOIUrl":"https://doi.org/10.56693/cr.126","url":null,"abstract":"","PeriodicalId":430697,"journal":{"name":"Chopin Review","volume":"57 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121438409","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The popular designation ‘poet of the piano’ becomes more meaningful when we understand that poets consistently turn to Chopin’s life and music for literary inspiration. Chopin’s short life – filled with nostalgia, melancholy and pain – exemplifies the Romantic notion of the suffering artist and provides fertile ground for poetry. The power of Chopin’s music – and especially the emotion it evokes – is a constant theme in the large, cross-cultural literary output on Chopin. This article samples several poetic texts by both famous and lesser-known Russian writers: Ivan Miatlev (1796–1844), Afanasii Fet (1820–92), Igor’ Severianin (1887–1941), Boris Pasternak (1890–1960) and Anna Akhmatova (1889–1966). In the poems by Miatlev, Fet and Severianin, Chopin’s music becomes emblematic of passionate love, the most frequently encountered trope. In the poems by Pasternak and Akhmatova, that music takes on a tragic dimension. Pasternak’s poem features a musical genre that Chopin pioneered, and the allusions in the poem reflect the fate of the Polish nation in the nineteenth century. The epigraph and diction in Akhmatova’s poem convey trauma and personal suffering – with which Chopin was only too familiar. Although Russia imposed oppressive policies, it was also an admirer of Polish culture, with Russians publishing complete Chopin editions and producing paintings and poems featuring Chopin and his music. When analysing these poems, it becomes clear that the tendency to characterise the relationship between Poland and Russia as one of animosity does not explain the whole picture.
{"title":"The poet of the piano in poetry: Chopin and Russian writers Miatlev, Fet, Severianin, Pasternak and Akhmatova","authors":"Tony H. Lin","doi":"10.56693/cr.110","DOIUrl":"https://doi.org/10.56693/cr.110","url":null,"abstract":"The popular designation ‘poet of the piano’ becomes more meaningful when we understand that poets consistently turn to Chopin’s life and music for literary inspiration. Chopin’s short life – filled with nostalgia, melancholy and pain – exemplifies the Romantic notion of the suffering artist and provides fertile ground for poetry. The power of Chopin’s music – and especially the emotion it evokes – is a constant theme in the large, cross-cultural literary output on Chopin. This article samples several poetic texts by both famous and lesser-known Russian writers: Ivan Miatlev (1796–1844), Afanasii Fet (1820–92), Igor’ Severianin (1887–1941), Boris Pasternak (1890–1960) and Anna Akhmatova (1889–1966). In the poems by Miatlev, Fet and Severianin, Chopin’s music becomes emblematic of passionate love, the most frequently encountered trope. In the poems by Pasternak and Akhmatova, that music takes on a tragic dimension. Pasternak’s poem features a musical genre that Chopin pioneered, and the allusions in the poem reflect the fate of the Polish nation in the nineteenth century. The epigraph and diction in Akhmatova’s poem convey trauma and personal suffering – with which Chopin was only too familiar. Although Russia imposed oppressive policies, it was also an admirer of Polish culture, with Russians publishing complete Chopin editions and producing paintings and poems featuring Chopin and his music. When analysing these poems, it becomes clear that the tendency to characterise the relationship between Poland and Russia as one of animosity does not explain the whole picture.","PeriodicalId":430697,"journal":{"name":"Chopin Review","volume":"69 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122012329","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Procedures to evaluate the quality of musical performance, like psychological tests generally, vary in reliability and validity. How can both be optimised? The subjective world of jurors comprises input (sensations) and output (thoughts and emotions). Cognitive approaches to performance evaluation, in which different aspects are analytically considered and the results combined, are more reliable than emotional approaches, which are ultimately based on holistic ‘gut reactions’. However, emotional approaches may be more valid. Both depend on the serial order in which performances are presented to evaluators, suggesting a need for independent, computer-controlled procedures in which jurors evaluate performances in different random orders. Jurors can be influenced by performers’ appearance and movements, as well as knowledge about past performances, whether or not they believe they should be; additional blind evaluations (sound only) could help. Evaluations may depend primarily on specific features such as right-hand melodic phrasing in romantic piano music. It would be interesting to systematically track the emotional state of jurors during a competition in order to better understand the interaction between their thoughts and emotions. In general, traditional approaches to performance evaluation might be supplemented (not replaced) by psychologically inspired, computer-based procedures. A ‘superjury’ could compare evaluations from different methods or ‘subjuries’.
{"title":"The reliability/ validity of cognitive/emotional approaches to the evaluation of musical performance: Implications for competition juries","authors":"R. Parncutt","doi":"10.56693/cr.102","DOIUrl":"https://doi.org/10.56693/cr.102","url":null,"abstract":"Procedures to evaluate the quality of musical performance, like psychological tests generally, vary in reliability and validity. How can both be optimised? The subjective world of jurors comprises input (sensations) and output (thoughts and emotions). Cognitive approaches to performance evaluation, in which different aspects are analytically considered and the results combined, are more reliable than emotional approaches, which are ultimately based on holistic ‘gut reactions’. However, emotional approaches may be more valid. Both depend on the serial order in which performances are presented to evaluators, suggesting a need for independent, computer-controlled procedures in which jurors evaluate performances in different random orders. Jurors can be influenced by performers’ appearance and movements, as well as knowledge about past performances, whether or not they believe they should be; additional blind evaluations (sound only) could help. Evaluations may depend primarily on specific features such as right-hand melodic phrasing in romantic piano music. It would be interesting to systematically track the emotional state of jurors during a competition in order to better understand the interaction between their thoughts and emotions. In general, traditional approaches to performance evaluation might be supplemented (not replaced) by psychologically inspired, computer-based procedures. A ‘superjury’ could compare evaluations from different methods or ‘subjuries’.","PeriodicalId":430697,"journal":{"name":"Chopin Review","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131483398","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Review of Chopin 1810–2010: Ideas, Interpretations, Influence ed. by Irena Poniatowska and Zofia Chechlińska","authors":"David Rowland","doi":"10.56693/cr.116","DOIUrl":"https://doi.org/10.56693/cr.116","url":null,"abstract":"","PeriodicalId":430697,"journal":{"name":"Chopin Review","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127756611","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
To read Sand’s fiction, or at least what she wrote while she and Chopin shared an intimate relationship, for insights into their creative affinities, is unproductive. However, some of her later writing, both fictional and non-fictional, gives us telling and fascinating insight into her ideas about music and its place in society, ideas which show close affinity with what we can know or can intuit of Chopin’s. Both were drawn to folk traditions, but how this informed their work is complex.
{"title":"Chopin and George Sand: Visions of reconciliation and otherness","authors":"B. Jack","doi":"10.56693/cr.111","DOIUrl":"https://doi.org/10.56693/cr.111","url":null,"abstract":"To read Sand’s fiction, or at least what she wrote while she and Chopin shared an intimate relationship, for insights into their creative affinities, is unproductive. However, some of her later writing, both fictional and non-fictional, gives us telling and fascinating insight into her ideas about music and its place in society, ideas which show close affinity with what we can know or can intuit of Chopin’s. Both were drawn to folk traditions, but how this informed their work is complex.","PeriodicalId":430697,"journal":{"name":"Chopin Review","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133600840","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Review of Paul Kildea Chopin’s Piano: A Journey Through Romanticism","authors":"Anna Chęćka","doi":"10.56693/cr.127","DOIUrl":"https://doi.org/10.56693/cr.127","url":null,"abstract":"","PeriodicalId":430697,"journal":{"name":"Chopin Review","volume":"327 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122868383","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The biographical novel, currently so popular among readers and authors alike, only recently acquired its status as an emerging literary genre: the process of its separation from the historical novel as more broadly conceived can be dated to the second half of the twentieth century. It is also worth remembering that the biography itself, as one of the types of scholarly text belonging to the field of history, only became the subject of more serious theoretical considerations during the first decades of the twentieth century. The biographical novel, combining – in various ways – historical reality with the author’s creativity, affords a unique opportunity to get inside the lives of its protagonists. Relatively few of the most outstanding works in the genre are devoted to composers, but a number of them open up fascinating vistas for study. In my reading of Thomas Mann’s Doctor Faustus, Julian Barnes’s The Noise of Time, Josef Škvorecký’s Scherzo capriccioso. Veselý sen o Dvořákovi and Jean Echenoz’s Ravel, I endeavour to show how the authors build a credible image of their characters. The present study forms an anacrusis to further reflection.
{"title":"Musical lives: Portraits of composers in biographical novels","authors":"Kamila Stępień-Kutera","doi":"10.56693/cr.112","DOIUrl":"https://doi.org/10.56693/cr.112","url":null,"abstract":"The biographical novel, currently so popular among readers and authors alike, only recently acquired its status as an emerging literary genre: the process of its separation from the historical novel as more broadly conceived can be dated to the second half of the twentieth century. It is also worth remembering that the biography itself, as one of the types of scholarly text belonging to the field of history, only became the subject of more serious theoretical considerations during the first decades of the twentieth century. The biographical novel, combining – in various ways – historical reality with the author’s creativity, affords a unique opportunity to get inside the lives of its protagonists. Relatively few of the most outstanding works in the genre are devoted to composers, but a number of them open up fascinating vistas for study. In my reading of Thomas Mann’s Doctor Faustus, Julian Barnes’s The Noise of Time, Josef Škvorecký’s Scherzo capriccioso. Veselý sen o Dvořákovi and Jean Echenoz’s Ravel, I endeavour to show how the authors build a credible image of their characters. The present study forms an anacrusis to further reflection.","PeriodicalId":430697,"journal":{"name":"Chopin Review","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125319605","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Review of Lisa McCormick Performing Civility: International Competitions in Classical Music","authors":"P. Majewski","doi":"10.56693/cr.105","DOIUrl":"https://doi.org/10.56693/cr.105","url":null,"abstract":"","PeriodicalId":430697,"journal":{"name":"Chopin Review","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126960644","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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