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Abstract
CHOPIN Twenty-four Preludes Opus 28 is a presentation of my interpretation of the Preludes which was reached by taking into consideration the importance of the history of the piano prelude, Chopin's contribution to the development of the prelude genre, his performing and teaching techniques, and a detailed musical analysis.
The thesis is divided into four chapters:
Chapter 1 deals with the piano prelude and examines its history and development from the fifteenth century to the present day. It considers the following composers who wrote preludes before and after Chopin: J.S. Bach, Mendelssohn, Alkan, Heller, Busoni, Scriabin, Rachmaninoff, Shostakovich, Debussy, Szymanowski, Faure, Martin and Ohana. Chopin's contribution to the genre is also discussed.
Chapter 2 is a study of Chopin as a pianist and teacher and provides a detailed account of both his innovations as a composer-performer: phrasing and tone, rubato, fingering, hands, original prelude fingering and pedalling; and his teaching techniques: teaching repertoire, Piano Method and influence on my former teacher, American-Hungarian pianist Bela Siki.
Chapter 3 deals exclusively with the Op. 28 Preludes: their dates of composition, editions most frequently used, Cortot's titles, critical response and performance.
Chapter 4 is a specific musical and interpretative analysis of the Preludes stemming from my own study as a performer. Any performance of this work must take into account the contribution Chopin made to the genre, and acknowledge the technical innovations that the composer advanced through his own performing and teaching. His influences as a teacher have been far reaching and have helped shape modern piano technique and performance practice. Chopin's solutions to technical difficulties, and his approach to the nature and sonority of the instrument, are everywhere illustrated in the Preludes. By a close analysis of the musical content of the Preludes, it is possible to examine ways in which Chopin approached the keyboard as a vehicle for his most profound musical thoughts, and so arrive at a practical interpretative view which accommodates both academic understanding and the freedom of personal taste and ability.
