Metrical Dissonance and Directed Motion in Paderewski's Recordings of Chopin's Mazurkas

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Musicology and Musical Analysis Diverse Music Education Insights Literature, Musicology, and Cultural Analysis

Abstract

This is an analytical study on metrical structure in Chopin's Mazurka op. 17/4 (complete) and excerpts from his Mazurkas opp. 59/2 and 63/3, and on the effects of expressive details in Paderewski's recordings upon that structure. The methodology is based mainly on Harald Krebs's theory of metrical dissonance but is also informed by William Caplin's theory of formal functions, by Robert Philip's categorization scheme for tempo rubato in early recordings, and by research in meter perception and empirical performance analysis. Several addenda to Krebs's taxonomy of metrical consonance and dissonance are proposed, including a distinction between two types of intensification processes (graduated and terraced). Paderewski's performance practices are shown to greatly enhance (or even to introduce) intensification processes that span entire phrases or sections, and to highlight the arrival of events of long-range structural importance such as cadences that provide tonal and formal closure at the deepest level.

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References

1998Classical Form 1999Fantasy Pieces 1992Early Recordings and Musical Style 1998A microcosm of musical expression. I. Quantitative analysis of pianists’ timing in the initial measures of Chopin’s Etude in E major 1993The History of Remembered Innovation: Tradition and Its Role in the Relationship between Musical Works and Their Performances 2002Theories of musical rhythm in the eighteenth and nineteenth centuries 2001Between Process and Product 2006The Power of Anacrusis

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2012Solutions to the “Great Nineteenth-Century Rhythm Problem” in Horowitz’s Recording of the Theme from Schumann’sKreisleriana, Op. 16, No. 2 2012Performance Strategies in Three Recordings of Bach’s Invention No. 1 in C Major: A Comparative Study

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