Chopin and His World by Unknown

Author:Unknown
Language: eng
Format: epub
Publisher: Princeton University Press
Published: 2017-03-13T16:00:00+00:00

NOTES

1. Tygodnik Muzyczny 13 (26 July 1820).

2. Published in Tygodnik Muzyczny 7 (14 June 1820).

3. Tygodnik Muzyczny 13.

4. The five earlier installments, nos. 6, 7, 8, 9, 11, were published during the summer, starting with the 7 June issue.

5. Tygodnik muzyczny 8 (21 June 1820).

6. Tygodnik muzyczny i dramatyczny, nos. 1–6, published between 11 April and 6 May 1821.

7. Tygodnik muzyczny i dramatyczny 5 (9 May 1821).

8. The literature devoted to this aspect of Chopin’s work and its presence in nineteenth-century music in general continues to grow. Representative examples include Mieczysław Tomaszewski, “Fantasie F-Moll op. 49: Genese, Struktur, Rezeption,” Chopin Studies 5 (1995): 210–23; Halina Goldberg, “‘Remembering That Tale of Grief’: The Prophetic Voice in Chopin’s Music,” in Goldberg, ed., The Age of Chopin (Bloomington and Indianapolis: Indiana University Press, 2004), 54–92; and Goldberg, “Descriptive Instrumental Music in Nineteenth-Century Poland: Context, Genre, and Performance,” Journal of Musicological Research 34/3 (Summer 2015): 224–48; Jonathan D. Bellman, Chopin’s Polish Ballade: Op. 38 as Narrative of National Martyrdom (New York: Oxford University Press, 2010); and Bellman, “Expressive and Narrative Strategies in the Descriptive Piano Fantasia,” Journal of Musicological Research 34/3 (Summer 2015): 182–203.

9. This revered icon, also known as the Black Madonna of Częstochowa, as well as the Pauline monastery in Jasna Góra where it is housed are woven into Polish history as symbols of nationhood. Since the Black Madonna is credited with many miracles, the monastery is the most important pilgrimage destination in Poland. There is a substantial body of music associated with Jasna Góra.

10. The Bar Confederation (sometimes viewed as Poland’s first national uprising) was formed in 1768 by Polish magnates for the purpose of military resistance to reforms spearheaded by Catherine the Great of Russia, which they viewed as setting limits to their power and threatening Poland’s sovereignty.

11. The Battle of Racławice, which took place in 1794 at the start of the Kościuszko Insurrection, was a spectacular victory of the Polish troops (led by Kościuszko) over the Russian forces.

12. At the time, the concept of a dance for listening was new and not always understood by audiences. This is underscored in a letter from Chopin’s sister to the composer, in which she comments on the discomfort of the Polish listeners with Chopin’s mazurkas that are “not for dancing.” Therefore, the “contemplative” function of such dances had to be somehow indicated. The term triste was often used as a cue.

13. “Nur in dem Land, wo wir geboren, Lacht uns die Ruh, blüht uns das Glück.” A duet from the opera Die Schweizer-Familie by Joseph Weigl.

14. The tune here is “La Marseillaise,” which, of course, is anachronistic, as the events referenced in this passage took place during the years 1776–84, when Kościuszko traveled to America to fight in the Revolutionary War. “The Marseillaise” was not composed until 1792, but Kurpiński clearly chose it not for its specific association with America’s Revolutionary War, but as a tune that would be easily recognized by his listeners as a “song of freedom.” Today the incipit of “The Marseillaise” is typically translated as “Arise, children of the fatherland.

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