G-Sharp Minor For Piano and Orchestra Opus 19

THE USE OF THE POLISH FOLK MUSIC ELEMENTS AND THE FANTASY
ELEMENTS IN THE POLISH FANTASY ON ORIGINAL THEMES IN
G-SHARP MINOR FOR PIANO AND ORCHESTRA OPUS 19
BY IGNACY JAN PADEREWSKI
Yun Jung Choi, B.A., M.M.
Dissertation Prepared for the Degree of
DOCTOR OF MUSICAL ARTS
UNIVERSITY OF NORTH TEXAS
May 2007
APPROVED:
Adam Wodnicki, Major Professor

Jeffrey Snider, Minor Professor
Joseph Banowetz, Committee Member
Graham Phipps, Director of Graduate Studies
in the College of Music
James C. Scott, Dean of the College of Music
Sandra L. Terrell, Dean of the Robert B.
Toulouse School of Graduate Studies
Choi, Yun Jung, The Use of the Polish Folk Music Elements and the Fantasy
Elements in the Polish Fantasy on Original Themes in G-sharp Minor for Piano and
Orchestra, Opus 19 by Ignacy Jan Paderewski. Doctor of Musical Arts (Performance), May
2007, 105 pp., 5 tables, 65 examples, references, 97 titles.
The primary purpose of this study is to address performance issues in the Polish
Fantasy, Op. 19, by examining characteristics of Polish folk dances and how they are
incorporated in this unique work by Paderewski. The study includes a comprehensive history
of the fantasy in order to understand how Paderewski used various codified generic aspects of
the solo piano fantasy, as well as those of the one-movement concerto introduced by
nineteenth-century composers such as Weber and Liszt. Given that the Polish Fantasy, Op.
19, as well as most of Paderewski’s compositions, have been performed more frequently in
the last twenty years, an analysis of the combination of the three characteristic aspects of the
Polish Fantasy, Op.19 - Polish folk music, the generic rhetoric of a fantasy and the one-
movement concerto - would aid scholars and performers alike in better understanding the
composition’s engagement with various traditions and how best to make decisions about
those traditions when approaching the work in a concert setting.
Chapter 1 provides biographical and factographical information about Paderewski as a
composer, pianist, and statesman. Chapter 2 examines characteristics of Polish folk music
with regard to melody, rhythm and tempo. Musical examples of the Polish folk songs from
the book Lud by Oskar Kolberg, and the characteristics of Mazur, Kujawiak, Oberek and the
Krakowiak, all of which are used in the Polish Fantasy, are examined. Aforementioned
examples are paralleled by those selected from Chopin’s Mazurkas, as well as selected
sections from Paderewski’s Polish Fantasy, and other pieces by Paderewski containing Polish
folk music elements.

Chapter 3 is divided into two sections. The first, the history of fantasy, presents
various stylistic and formal aspects of the fantasies of the eighteenth century and nineteenth
centuries. The second section offers an analysis of the Polish Fantasy in light of this history,
and considers how Paderewski combined fantasy elements used by composers of earlier times
with his own compositional technique style. Chapter 4 discusses performance issues
including pedaling, tempo rubato, and composer’s own fingering. Chapter 5 provides a
summary and conclusion of the study.

Copyright 2007
by
Yun Jung Choi
ii
TABLE OF CONTENTS
Page
LIST OF TABLES.....................................................................................................................v
LIST OF EXAMPLES............................................................................................................. vi
Chapters
I. INTRODUCTION .............................................................................................1
Purpose of the Study
Overview of Literature and Discography
Paderewski as a Pianist, Composer and Statesman
II. POLISH FOLK DANCES .................................................................................8

The General Characteristics of Polish Folk Music
Polish Dances: Mazurka and Krakowiak
Kujawiak
Mazur
Oberek
Krakowiak
III. COMPOSITIONAL TECHNIQUES IN POLISH FANTASY, OP. 19 ............28

History of Fantasy
The Fantasy of the Eighteenth Century
The Fantasy of the Nineteenth Century
Analysis of Polish Fantasy, Op.19
Background of Polish Fantasy, Op.19
Overall Form of Polish Fantasy, Op.19
Section 1
Section 2
Section 3
Section 4
Cadenza
Coda
Eighteenth Century Fantasy Elements in Polish Fantasy, Op.19
Nineteenth Century Fantasy Elements in Polish Fantasy, Op.19
iii
IV. PERFORMANCE ISSUES..............................................................................74
Pedaling
Tempo Rubato
Fingering
V. CONCLUSION................................................................................................88
Appendix
A. LIST OF WORKS IN CHRONOLOGICAL ORDER ....................................90
B. PADEREWSKI’S REPERTOIRE ...................................................................94
REFERENCES ........................................................................................................................99
Bibliography
Scores
Discography
iv
LIST OF TABLES
Page
1. Formal diagram of Paderewski, Polish Fantasy, Op.19, section 1..............................40
5. Formal diagram of Paderewski, Polish Fantasy, Op.19, coda.....................................42
v
LIST OF MUSICAL EXAMPLES
Page
1. Pentatonic scale: A song heard by Czesław Halski in the district of Lublin .................9
2. Use of small intervals: Bułci tu kusy Jan, Sobieski and Sobolewska 1955, no.87 .....11
3. Modulation: A song heard by Czesław Halski in the village of Laszki near Tarnopol
......................................................................................................................................11
4. Kujawiak from Kujawy, IV. no.102, collected by Kolberg .........................................13
5. Kujawiak from Kujawy, IV. no.67, collected by Kolberg ...........................................13
6. Kujawiak from Kujawy, IV. no.170, collected by Kolberg .........................................14
7. (a) Chopin, Mazurka Op.68, No.2 in A Minor, mm.1-4 ..............................................15
(b) Chopin, Mazurka Op.68, No.2 in A Minor, mm.29-33 ..........................................15
8. Chopin, Mazurka Op.24, No.1 in G Minor, mm.1-5 ...................................................15
9. Typical rhythm of the mazur........................................................................................16
10. Typical rhythm of the mazur: Mazur from Mazury Pruskie, no.598, collected by
Kolberg ........................................................................................................................16
11. Typical rhythm of the mazur: Mazur from Mazury Pruskie, no.388, collected by
Kolberg ........................................................................................................................16
12. Irregular accents of the mazur: Mazur from Mazury Pruskie no.227, collected by
Kolberg ........................................................................................................................17
13. Irregular accents of the mazur: Mazur from Mazury Pruskie, no.528, collected by
Kolberg ........................................................................................................................17
14. Chopin, Mazurka Op.6, No.3 in E- flat Minor, mm.1-6 ..............................................17
15. Mazur: Paderewski, Dances Polonaises Op.9, No.3 Mazurek, mm.1-10....................18
16. Chopin, Mazurka Op.24, No.4 in B-flat Minor, mm.1-12 ...........................................18
17. Oberek: Chopin Mazurka Op.7, No.1 in B-flat Major, mm.1-12 ................................20
18. Oberek: Chopin, Mazurka Op.50, No.1 in G Major, mm.1-6 .....................................20
19. Oberek: Paderewski, Polish Fantasy, Op.19, mm.279-292.........................................21
20. Typical rhythm of the krakowiak: Krakowiskie, no.395, collected by Kolberg ..........23
21. Typical rhythm of the krakowiak: Krakowiskie, no.603, collected by Kolberg ..........23
vi
22. Krakowiak: Paderewski, Polish Fantasy, Op.19, mm.539-543...................................24
23. Krakowiak: Paderewski, Dances Polonaises Op.9, No.4 Krakowiak mm.1- 5...........24
24. (a) Chopin, Polonaise-Fantasie in A-flat Minor, Op.61, mm.1-7 ...............................25
(b) Chopin, Polonaise-Fantasie in A- flat Minor, Op.61, mm.20-31 ..........................26
25. (a) Chopin, Fantasia on Polish Airs, Op.13, mm.55-64..............................................27
(b) Chopin, Fantasia on Polish Airs, Op.13, mm.20-31..............................................27
26. Main theme 1: Paderewski, Polish Fantasy, Op.19, mm.43-51 ..................................44
27. Subsidiary theme 1: Paderewski, Polish Fantasy, Op.19, mm.25-34 .........................45
28. Subsidiary theme 2: Paderewski, Polish Fantasy, Op.19, mm.115-143 .....................47
29. Combination of the themes 3* and 1: Paderewki, Polish Fantasy, Op.19, mm. 180-
186................................................................................................................................48
30. Main theme 2: Paderewki, Polish Fantasy, Op.19, mm.240-269................................50
31. Main theme 2: Paderewki, Polish Fantasy, Op.19, mm.279-297................................51
32. Main theme 3: Paderewski, Polish Fantasy, Op.19, mm. 425-432 .............................52
33. Main theme 4 (material ‘a¹’): Paderewski, Polish Fantasy, Op.19, mm. 547-562......54
34. Material ‘b¹’ : Paderewki, Polish Fantasy, Op.19, mm. 609-614................................54
35. Material ‘a²’: Paderewki, Polish Fantasy, Op.19, mm. 539-546.................................55
36. Material ‘c¹’: Paderewki, Polish Fantasy, Op.19, mm. 577-589.................................56
37. Material ‘d’: Paderewki, Polish Fantasy, Op.19, mm. 648-657..................................57
38. Cadenza: Paderewki, Polish Fantasy, mm. 962-990 ...................................................60
39. Opening Cadenza: Paderewki, Polish Fantasy, mm. 7-11 ..........................................61
40. Combination of material ‘c¹’ and the main theme 1: Paderewki, Polish Fantasy, mm.
1022-1029 ....................................................................................................................61
41. Combination of the themes 2 and 4: Paderewki, Polish Fantasy, Op.19, mm. 1074-
1080..............................................................................................................................63
42. Alternation between free and stable sections: Paderewki, Polish Fantasy, Op.19,
mm.1-11 .......................................................................................................................65
43. Alternation between free and stable sections: Paderewki, Polish Fantasy, Op.19, mm.
494-510 ........................................................................................................................67
vii
44. (a) Main theme 1: Paderewski, Polish Fantasy, Op.19, mm.43-51.............................69
(b) Main theme 1: Paderewski, Polish Fantasy, Op.19, mm.180-186.........................69
(c) Main theme 1: Paderewski, Polish Fantasy, Op.19, mm. 425-429........................69
(d) Main theme 1: Paderewski, Polish Fantasy, Op.19, mm. 1021-1025....................70
45. (a) Main theme 2: Paderewski, Polish Fantasy, Op.19, mm.279-292.........................70
(b) Main theme 2: Paderewski, Polish Fantasy, Op.19, mm.868-880.........................71
(c) Main theme 2: Paderewski, Polish Fantasy, Op.19, mm.1094-1101.....................71
46. Pedaling: Paderewski, Polish Fantasy, Op.19, mm.356-359 ......................................75
47. Pedaling: Paderewski, Polish Fantasy, Op.19, mm.1018-1025 ..................................75
48. Suggested pedaling: Paderewski, Polish Fantasy, Op.19, mm. 7-11 ..........................76
49. Suggested pedaling: Paderewski, Polish Fantasy, Op.19, mm. 21-24 ........................76
50. Suggested pedaling: Paderewski, Polish Fantasy, Op.19, mm. 300-312 ....................77
52. Pedaling: Paderewski, Polish Fantasy, Op.19, mm. 436-448 .....................................78
53. Pedaling: Paderewski, Polish Fantasy, Op.19, mm. 507-510 .....................................78
56. Tempo Rubato: Paderewski, Polish Fantasy, Op.19, mm. 279-284............................80
57. Tempo Rubato: Paderewski, Polish Fantasy, Op.19, mm. 539-543............................81
58. Paderewski, Polish Dances, Mazurek in A Minor Op.9, No.2, mm. 10-22 .................82
59. Paderewski, Polish Fantasy, Op.19, mm. 43-54..........................................................83
60. Paderewski, Polish Fantasy, Op.19, mm.446-463.......................................................84
61. Paderewski, Polish Fantasy, Op.19, mm. 888-921......................................................85
62. Fingering: Paderewski, Polish Fantasy, Op.19, mm. 300-312....................................86
65. Fingering: Paderewki, Polish Fantasy, Op.19, mm. 1021-1030 .................................87
viii
CHAPTER I
INTRODUCTION
Purpose of the Study
The primary purpose of this study is to address performance issues in the Polish Fantasy,
Op.19, by examining common characteristics of Polish folk dances and how they are best
realized when incorporated in the classical piano genres of the late- eighteenth and nineteenth
centuries. The study includes a comprehensive history of the fantasy in order to understand how
Paderewski used various codified generic aspects of the solo piano fantasy, as well as those of
the one-movement concerto introduced by nineteenth-century composers such as Weber and
Liszt. Given that the Polish Fantasy, Op.19, as well as most of Paderewski’s compositions, have
been performed more frequently in the last twenty years, an analysis of the combination of the
three characteristic aspects of the Polish Fantasy, Op.19 - Polish folk music, the generic rhetoric
of fantasy and the one-movement concerto - would aid scholars and performers alike in better
understanding the composition’s engagement with various traditions and how best to make
decisions about those traditions when approaching the work in a concert setting.
Overview of Literature and Discography
Paderewski’s long neglected compositions have attracted a great deal of attention in
recent years. In 2002, his complete works were published for the first time in a scholarly edition
of twelve volumes by Musica Iagellonica of Kraków, Poland, with Małgorzata Perkowska-
Waszek as chief editor and Adam Wodnicki as performance editor. Five discs with recordings by
Paderewski on Pearl label CDs were released in 1994 to commemorate the fiftieth anniversary of
Paderewski’s death.
１
Even though some of Paderewski’ works were recorded over the past fifty years, it is the
last decade that his works have finally begun to be recorded.
Paderewski’s Complete Solo Piano Works played by Karol Radziwonowicz were released
in four volumes in 1998 on Selene Records.1 Two discs with Paderewski’s Works for Piano Solo
performed by pianist Adam Wodnicki were released on Altarus label in 1997 and 2000.
Paderewski’s Piano Concerto in A Minor, Op.17 and Polish Fantasy, Op.19 were recorded by
Janina Fialkowska with National Polish Radio Symphony Orchestra conducted by Antoni Wit in
2000 on Naxos label. This is just a sampling from the recent years; before that time recordings of
Paderewski’s music were made by Earl Wild2, Josef Hofmann, Ignaz Friedman and Sergey
Rachmaninoff, among others.
A number of full–length biographies of Paderewski are available, including his own
Memoirs written with Mary Lawton.3 Essays by Paderewski, “Tempo Rubato” (first published in
Henry T. Finck’s Success in Music and How It Won in 1909)4, and “The Best Way to Study the
Piano,” are available in the book The Paderewski Paradox by Ronald Stevenson, published in
1992.5
A substantial amount of information on Polish folk music and dances is available from
numerous sources. Seminal studies include: Polish Folk Music: Slavic Heritage-Polish Tradition,
Contemporary Trends by Anna Czekanowska6; Folk music in Poland: Songs, Dances,
1
This record was released earlier in an incomplete form on the Chant du Monde label (1993).
2
He recorded Paderewski’s Piano Concerto in A Minor, Op.17 with Boston Symphony Orchestra conducted by
Arthur Fiedler in 1969, and Theme with Variations, Op. 16 No.3 in 1964.
3
Ignacy Jan Paderewski and Mary Lawton, The Paderewski Memoirs. (New York: Charles Scribner’s Sons, 1938).
4
Henry T. Finck, Success in Music and How It Is Won. (New York: Charles Scribner’s Sons, 1909; reprinted in
1927).
5
Ronald Stevenson, The Paderewski Paradox. (Great Britain: The Claviermusic Foundation of Great Britain
and The Society of Paderewski, 1992).
6
Anna Czekanowska, Polish Music: Slavic heritage, Polish Tradition, Contemporary Trends. (Cambridge:
Cambridge University Press, 1900).
２
Instruments by Czesław Halski7; the article on “Poland” by Jan Steszewski in the New Grove
Dictionary of Music and Musicians8; the “Polish Folk Mazurka” by Anne Swartz in Studia
Musicologica Academiae Scientiarum Hungaricae (1975)9; and “Performance Commentary” in
Chopin’s Mazurkas in National Edition of the Works of Fryderyk Chopin by Jan Ekier and Paweł
Kamiński.10 More than 10,000 folk melodies are listed in Lud collected and published by Oskar
Kolberg (1814-1890) as a multivolume series.11 Each volume corresponds to a different
geographic region of Poland.
Literature about Paderewski is extensive, but only three publications discuss the Polish
Fantasy, Op.19: “Preface” by Małgorzata Perkowska-Waszek to Vol. VIII of the Complete
Works of Ignacy Jan Paderewski12; “Analytical Notes on Paderewski’s Programmes” by Henry E.
Krehbiel in Polish Music Journal (Winter 2001)13; and the “Polish Fantasia” chapter in
Paderewski and His Art by Henry T. Finck.14 All include perfunctory background information
and a brief and incomplete analysis of the Polish Fantasy, Op. 19.
7
Czesław Halski, Folk Music in Poland: Songs, Dances, Instruments. (London: Polish Cultural Foundation, 1992).
8
Jan Steszewski, “Poland,” The New Grove Dictionary of Music and Musicians, 2nd ed., edited by Stanley Sadie
and John Tyrell. Vol.19, pp.17-19. (London: Macmillan, 2001).
9
Anne Swartz, “The Polish Folk Mazurka,” Studia Musicologica Academiae Scientiarum Hungaricae (1975):
249-255.
10
Jan Ekier, and Paweł Kamiński, “Performance Commentary,” notes to Vol. IV of National Edition of the
Works of Fryderyk Chopin, XI vols., ed. Jan Ekier. (Kraków: Polskie Wydawnictwo Muzyczne, 1998. 2).
11
Oskar Kolberg, Lud. (Kraków : Polskie Wydawn. Muzyczne, 1857-1907, 63 vols., new edition 1961-7).
12
Małgorzata Perkowska-Waszek, “Preface,” notes to Vol. VIII of Dzieła Wszystkie (The Complete Works) of
Ignacy Jan Paderewski, XII vols., Małgorzata Perkowska-Waszek, chief editor, Adam Wodnicki,
performance editor, Barbara Konarska and Barbara Stryszewska, consultant editors. (Kraków: Musica
Iagellonica, 2002, pp.13-16).
13
Henry E Krehbiel, “Analytical Notes on M. Paderewski’s Programmes,” ed. Maja Trochimczyk. Polish Music
Journal 4 (Winter 2001).
14
Henry T. Finck, Paderewski and His Art. (New York: Whittingham & Atherton, 1895).
３
Paderewski as a Pianist, Composer and Statesman
Ignacy Jan Paderewski (1860-1941), the most celebrated of Polish pianists, a composer,
orator, and statesman, was born in Podolia, a province of the Polish Republic after World War I,
incorporated in the Ukraine Republic after World War II.
Charles Phillips said of Paderewski in his 1934 book, The Story of a Modern Immortal,
"Those of us who love Poland are glad that she can claim him as a son, but let her always
remember that Ignacy Jan Paderewski belongs to all mankind."15 Upon his death in New York
in 1941, Paderewski was given a hero's burial in Arlington National Cemetery, Arlington,
Virginia, U.S.A. In 1992, his body was exhumed and returned to Poland.
Paderewski studied piano, harmony, and counterpoint at the Warsaw Conservatory (1872-
1878) and later (1884-1887) with Theodor Leschetizky, the great Polish pianist and pedagogue.
Despite his innate talent, Paderewski did not initially possess fluent méchanique abilities; his
mediocre skills were eventually molded into a world-class technique during three intensive years
of work with Leschetizky. Paderewski studied composition between 1881 and 1883, and
associated with many of the most-widely regarded musicians of the day, including young
Richard Strauss and Anton Rubinstein. Maurice Moszkowski aided in originating publication of
Paderewski's early piano pieces.
Paderewski achieved unprecedented fame that arguably exceeded that of any virtuoso
performer since Franz Liszt; indeed, he was internationally esteemed for his playing as well as
his personality, and became one of the legendary performers of his time. Additionally, no
presentation on Paderewski should overlook his ardent patriotism and compassion for the poor
and oppressed everywhere.
15
Charles Phillips, Paderewski: The Story of a Modern Immortal. (New York: The Macmillan Company,
1934), 3.
４
His début recital in Vienna in 1888, where he played several Chopin compositions and his
own works, has been considered a turning point in his career as a concert pianist. After concerts
in France, the Netherlands, Germany and Poland, he gave his first concert in London in May
1890, and became a favorite of British audiences following subsequent recitals in London and in
other cities throughout Great Britain. His international career lasted for over fifty years, with
travels all over the world, including Africa, Australia, New Zealand, across the European
continent, as well as across the Atlantic, a trip he made more than thirty times. Paderewski gave
recitals and performances with the leading orchestras under the most distinguished conductors of
the time, including Charles Lamoureux, Arthur Nikisch, Hans Richter, Walter Damrosch, and
Leopold Stokowski. He gave more than 1500 concerts in the U.S. alone, drawing the largest
crowds in history at that time. His was the first solo recital in the newly built Carnegie Hall in
New York City in 1891.16
Paderewski’s artistic success brought him substantial material wealth, which enabled him
to support countless philanthropic endeavors in Poland and elsewhere. His support and
dedication to the political activities advocating Polish independence eventually led him to
assume the responsibilities of Prime Minister and Minister of Foreign Affairs in the newly
independent Poland after World War I, representing Poland at Versailles as one of the signatories
of the Treaty of Versailles.17
In the course of his worldwide career, Paderewski organized and participated in countless
concerts for the benefit of young musicians, and founded two competitions, one for composition
and one for drama, in Warsaw in 1898. In 1900, he established the Paderewski Fund to promote
16
Małgorzata Perkowska-Waszek, “Record Jacket Notes” for Paderewski, Ignacy Jan. Piano Works Vol.1: Piano
Sonata Op.13, Miscellanea Op.16, Tatra Album Op.12, Adam Wodnicki, piano (Altarus CD 9045, 1997), 2.
17
Poland was partitioned by Russia, Prussia, and Austria three times in 1772-1795, and did not exist as an
independent country at that time.
５
musical composition in the United States. In 1937, he became the chief editor of the Polish
edition of Chopin’s complete works, still used today.
Aside from his fame as a pianist, Paderewski achieved significant success as a composer,
the capacity in which he primarily regarded himself for much of his life. Paderewski’s works
include piano miniatures with programmatic titles and Twelve Songs to Poems by Catulle
Mendés Op.22 (1903), and, in the larger forms, the Sonata for Violin and Piano, Op.13 (1880),
Piano Sonata in E-flat Minor, Op.21 (1903), Piano Concerto in A Minor, Op.17 (1888), Polish
Fantasy for Piano and Orchestra, Op.19 (1893), Variations and Fugue in E-flat Minor, Op.23
(1907). Additionally, he composed a monumental Symphony in B Minor, Op.24 (1907), the last
piece to be composed by the great pianist, and the opera Manru, Op.20 (1900).18
Study of his more than thirty piano pieces indicates that they belong to, what Finck has
accurately described as, the “Polish branch of the modern romantic school. They are Krakowiaks,
Mazurkas, Polonaises, Nocturne, Légende, Barcarolle, Sarabande, Elégie, Mélodies, and so
on.”19
While perhaps biased, Finck evaluated the works of Paderewski in his book Paderewski
and His Art as such: “All the great pianists–Chopin, Liszt, Rubinstein, etc. - were composers as
well as virtuosi, and all were at their best in playing their own pieces. Of Paderewski it must be
said, as of Chopin, Liszt, and Rubinstein, that great as is his skill as a pianist, his creative power
is even more remarkable.”20 Considering the extensive reception of his works and his fame as a
performer, it is surprising that Paderewski was practically forgotten as a composer until about
18
“Record Jacket Notes” for Ignacy Jan Paderewski, Piano Works Vol.1 (Altarus CD 9045, 1997), 2.
19
Finck, Paderewski and His Art, 38.
20
Ibid., 42.
６
twenty years ago when his works were finally recorded and the first edition of his complete
works appeared.
７
CHAPTER II
POLISH FOLK DANCES
The General Characteristics of Polish Folk Music
Polish folk songs are monophonic with melody as the most important and dominant
element of the music and they tend to be well-suited to be utilized as dances. The most typical
and principal meters in Polish folk music are simple duple and triple meters.
Many attempts have been made to establish a tonal system upon which Polish folk songs
may be said to be based, but none has adequately been established. Oskar Kolberg is widely
regarded as the pioneer in the field of Polish folk music and the first to attempt to systematically
compile and analyze the music. Kolberg collected ethnographic materials, including folk lore,
airs, and dance tunes from the region which extended over Polish, Lithuanian, Belarusian, and
Ukrainian ethnic areas, arranged them according to region and published them in thirty-three
volumes in the course of his lifetime. The reprinting of these tomes and the publication of the
unpublished manuscripts began in 1961 and supplemented the work to eighty volumes, which
hold approximately 25,000 songs and dances and about 15,000 melodies.21
Many of songs collected by Kolberg are built around trichords, tetrachords, and the
pentatonic scale, which can surpass the interval of a fifth or sixth and tend to embrace larger
intervallic leaps. In his History of Polish Music, Aleksander Poliński stated that the pentatonic
scale, on which numerous songs are built, is of Sino-Indian origin consisting of five notes; G-A-
C-D-E (Ex.1).22
21
Jan Stęszewski, “Poland,” The New Grove Dictionary of Music and Musicians, 2nd ed., edited by Stanley Sadie
and John Tyrell. Vol.19, pp.17-19 (London: Macmillan, 2001).
22
Czesław Halski. Folk Music in Poland: Songs, Dances, Instruments. (London: Polish Cultural Foundation, 1992),
37.
８
Example 1: Pentatonic scale: A song heard by Czesław Halski in the district of Lublin.
The tonal problems in Polish folk music were scrutinized extensively by many Polish
musicologists and theorists after Poliński. Maciej Kamieński presented an enlightening essay on
the results of the analysis of numerous folksongs of the Kaszubians and of the southern part of
Pomerania in the Musicological Yearbook of 1935 in Warsaw. He demonstrated that the
emulation of the two pentachords - ut-re-fa-sol-la and ut-re-mi-sol-la - had been noteworthy in
Polish folk music for centuries.23
In the years 1950 through 1953, Włodzimierz Kotoński performed an exhaustive study on
the music of the Polish Highlanders to notice that about ninety percent of the highlanders’
melodies were built on four basic scales, and that about sixty percent of the analyzed melodies
were built on the heptatonic scale: D-E-F#-G-A-B-C# with a final D or, less often, E.24
In an essay, “Tonal Aspects of the Polish Folk Music,” published in Musicological
Studies (Vol. I), Marian Sobieski states, from a historical standpoint, that the inclusion of F# in
the Polish folk scale extends the pentatonic scale to the hexachord, containing the following
notes: D-E-F#-G#-A-B.25
Polish composer Ludomir Rogowski (1881-1954) singularly endeavored to find the basic
scale upon which Slavic melodies were built. Rogowski was deeply impressed by the songs he
23
Ibid., 38.
24
Ibid., 38.
25
Ibid., 38.
９
heard from his childhood nanny, an old White-Ruthenian peasant-woman. The fascination with
the songs from his childhood and his strong memory of them encouraged Rogowski to devote
himself to the study of Slavic melodies by journeying through White Ruthenia, Russia and later
Yugoslavia. After many years of travel and study, he came to the conclusion that the basic
scale upon which Slavonic melodies were predominately built contained the following pitch
materials: C-D-E-F#/G-A-B♭-C.26
The body of research on folk music and the theoretical conclusions born out of such
analysis, it should be noted, is not without methodological problems and will remain, arguably,
ultimately inconclusive. Even though the findings discussed here regarding tonality and
standard scalar inflection as obtained from the assiduous efforts of these scholars are extremely
valuable, they must be considered as largely hypothetical and not inclusive, for thousands of
songs that remained beyond the authors’ attention might have altered their conclusions.27
The Polish folk music in central Poland is dominated by simple triple time (3/4 and 3/8),
and yields to simple duple time (2/4 and 2/8) in the south and southeast regions of Poland. In
the border districts around the country, alternating as well as irregular measures are to be found
more frequently, as for instance, 2/4+3/4, 3/4+4/4, or 3/8+4/8; 5/8 and 5/8+3/8.28
Melodies found in wedding songs and annual rituals have a range of a third or a fourth,
whereas many street vendors’ calls are based on two pitches a third apart, or three notes ranging
the span of a fourth. Folk song melodies usually move in seconds and thirds, however, larger
26
Ibid., 38.
27
Ibid., 38.
28
Ibid., 42.
１０
intervals may occur at the beginning of the phrase (Ex. 2). Glissando is a frequent feature of the
melodic line.29
30
Example 2: Use of small intervals: Buł ci tu kusy Jan, Sobieski and Sobolewska 1955, no.87.
Modulations from major to minor and vice versa are frequently found within a short song,
as shown in the following example, where a modulation in the space of five bars appears such
that the first two bars are in minor key, then the modulation to the relative major occurs, with a
return to the minor key for the last two bars (Ex.3).31
Example 3: Modulation: A song heard by Czesław Halski in the village of Laszki near Tarnopol.
Tempo rubato is considered the most prominent characteristic in the Polish musical spirit.
Halski in his book, Folk Music in Poland, defines “the famous tempo rubato” as follows: “It
could be interpreted by a subtle anticipation and retardation of a series of sounds in such a way
29
Jan Steszewski, “Poland,” 17.
30
Czekanowska, Polish Music, 138.
31
Halski, Folk Music in Poland, 38.
１１
that the differential created at the end of passage subjected to the tempo rubato becomes
equalized with precision, thus retaining the original unaltered tempo.”32
Polish Dances: Mazurka and Krakowiak
The main purpose of this chapter is to explore how the elements of the Polish folk dance
are used in Paderewski’s Polish Fantasy, Op.19, contextualized with examples of Chopin’s
Mazurkas as well as other pieces by Paderewski containing Polish folk elements.
The generic name ‘mazurka’ comprises three popular dance forms: the kujawiak, the
mazur and the oberek. While all three are quite stylistically discrete, they hold certain common
characteristics, including: triple meter with the principal accents on the weak beats (second and
occasionally third); one or two bar rhythmic and melodic motives; regular phrasing; and a formal
structure based on repeated sections.33 Although the name ‘mazurka’ suggests a relation only
to the mazur, the two differ dramatically from each other in terms of tempo, accentuation, and
general character.34 This curious confusion of nomenclature is understandable in light of the
all-encompassing nature of the term “mazurka,” which represent not only the mazur, but also the
kujawiak and the oberek as well. They are distinguished from each other by geographical origin,
choreography, melodic shape, rhythmic accentuation and tempo.35
32
Ibid., 42.
33
Swartz, “The Polish Folk Mazurka,” 1.
34
Jan Bogdan Drath, “Chopin’s Mazurka” (DMA dissertation, University of North Texas, 1969), 2.
35
Eigeldinger, Jean-Jacques. Chopin: Pianist and Teacher as Seen by His Pupils, translated by Krysia Osostowicz
and Naomi Shohet; edited by Roy Howat. (New York: Cambridge University Press, 1986), 145.
１２
Kujawiak
The kujawiak is the slowest dance (♩= 120-160) originating from Kujawy region. The character
of the dance is regarded as sincere and “earnest rather than melancholic.”36.
The construction is usually built around four bar phrases in minor keys. Strong accents
are seldom employed, with the principal accent falling on the second beat of every fourth bar,
and agogic rubato is frequently employed (Ex.4 and Ex.5).37
Example 4 : Kujawiak from Kujawy, IV. no.102, collected by Kolberg.
Example 5: Kujawiak from Kujawy, IV. no.67, collected by Kolberg.
As seen in the following example of a folk kujawiak, the primary accents fall mostly in
the fourth measure of each phrase because of harmonic, melodic and rhythmic tendencies at
these points, while secondary accents fall in the second measure of the phrase. The smaller notes
36
Drath, “Chopin’s Mazurka,” 30.
37
Eigeldinger, Chopin: Pianist and Teacher, 145.
１３
preceding the melodic cadences at points of articulation are ornamental, emphasizing the main
accent in the fourth measure of each phrase, thus distinguishing this accent from the secondary
one in the second measure (Ex.6).38
Example 6: Kujawiak from Kujawy , IV. no.170, collected by Kolberg.
In a kujawiak, the four measure unit is found more frequently than in a mazur, and
changes of tempo are characteristic with very slow beginning and gradually increase in speed;
the change in tempo is considered to reflect characteristic preoccupations with themes of
sleeping and hunting within the culture and the narrative idea.39 Chopin’s Mazurka in A Minor
Op.68, No.2 can be considered a paradigm of the kujawiak, featuring the typical fast middle
section (Ex. 7a and 7b).
38
39
Czekanowska, Polish Music, 195.
１４
Example 7a: Chopin, Mazurka Op.68, No.2 in A Minor, mm.1-4.
Example 7b: Chopin, Mazurka Op.68, No.2 in A Minor, mm.29-33.
The melody moves mostly stepwise and ends on various tones of the scale, but usually
ends on the dominant, conceived in four measure phrases, as seen in the Chopin Mazurka in G
Minor, Op.24 No.1 (Ex. 8).40
Example 8: Chopin, Mazurka Op.24, No.1 in G Minor, mm.1-5.
Mazur
The mazur, a distinctly faster and livelier dance (♩=160-184) than the kujawiak
originating in Mazovia (Mazowsze in Poland) around Warsaw. It features a much more
40
１５
diversified rhythmic structure, with frequent dotted rhythms and free pattern of accentuation in
3/4 or 3/8.
The following examples are the most frequently used rhythmic patterns in the mazur
(Ex.9, 10, and 11):
Example 9: Typical rhythm of the Mazur.
Example 10: Typical rhythm of the mazur: Mazur from Mazury Pruskie, no.598, collected by Kolberg.
Example 11: Typical rhythm of the mazur: Mazur from Mazury Pruskie, no.388, collected by Kolberg.
Unlike the kujawiak, accents in the mazur are asymmetrical. The accents may fall on any
part of the measure, at the discretion of the performer/composer, and any number of accents may
fall in a bar, although they usually tend towards weak beats.41
Examples of the various accent types are as follow (Ex.12, 13, 14, and 15):
41
１６
Example 12: Irregular accents of the mazur: Mazur from Mazury Pruskie no.227, collected by Kolberg.
Example 13: Irregular accents of the mazur: Mazur from Mazury Pruskie, no.528, collected by Kolberg.
Example 14: Chopin, Mazurka Op.6, No.3 in E -flat Minor, mm.1-6.
１７
Example 15: Mazur: Paderewski, Dances Polonaises Op.9, No.3 Mazurek, mm.1-10.
In the folk mazur, strong accents may or may not fall in a regular pattern within the
phrase. In a regular pattern, strong accents fall in successive measures on the same beat as
exemplified in the following mazur, where strong accents occur on the weak beats in almost
every measure (Ex.16).
Example16: Chopin, Mazurka Op.24, No.4 in B-flat Minor, mm.1-12.
１８
Oberek
The oberek has no particular regional origin for its name, unlike both the kujawiak and
mazur. A purely instrumental dance in 3/8, of rapid tempo (♪= 180-240), the oberek features
swift turns and frequent changes of melodic direction. To facilitate the realization of the fast
tempo, the dance has a strong accent on the second beat at the end of each period. Often in the
major key, the dance is accompanied by the dancers’ shouts and the stamping of feet on the
accentual pattern in the performance of this lively dance. Occasionally, the increased speed of
the dance resulted in the oberek dance couples moving at an extremely fast whirl, one
explanation for the title of Mill or Windmill.42
The prominent characteristics of the oberek, such as its distinctive accents, rapid tempo,
and unique melody, make it the most easily identifiable of the three mazurka dances (Ex.17, 18
and 19).43
42
Eigeldinger, Chopin: Pianist and Teacher: As Seen by his Pupils, 145.
43
１９
Example 17: Oberek: Chopin Mazurka Op.7, No.1 in B-flat Major, mm.1-12.
Example 18: Oberek: Chopin, Mazurka Op.50, No.1 in G Major, mm.1-6.
２０
Example 19: Oberek: Paderewski, Polish Fantasy, Op.19, mm.279-292.
The examples most illustrative of the various tempi of mazurka are found in those of
Chopin. In his early mazurka opera up to opus 24, both the tempo indications and metronome
markings are given, with the exception of the following, F-sharp Minor and C-sharp Minor,
Op.6 No.1, and 2 and in F Minor, Op.7, No.3, which provide metronome marks only. Generally,
quicker tempi indicate the mazur or oberek, and slower ones, the kujawiak.44
For a given dance, certain tempo markings such as Vivo, Vivace, Allegro, and Animato
are frequently given for mazur and oberek, while Lento, Allegretto, Andantino, Moderato, Mesto,
Maestoso, as well as expressive markings such as dolce and expressivo are provided in the case
of kujawiak.45
However, a classification based on such unequivocal criteria should not be applied
unconditionally to mazurkas, primarily because few mazurkas maintain the characteristic of a
single dance from beginning to end, as exemplified in the Mazurkas in B-flat, Op.7, No.1, and
44
Jan Ekier,and Paweł Kamiński, “Performance Commentary,” notes to Vol. IV of National Edition of the Works of
Fryderyk Chopin, XI vols., ed. Jan Ekier. (Kraków: Polskie Wydawnictwo Muzyczne, 1998), 2.
45
Ibid., 2.
２１
Op.17, No.1, which feature the characteristics of the mazur, or in C Minor, Op.30 No.1, which
features the characteristics of a kujawiak. Generally, mazurkas contain elements of two dances
and even three in some cases, such as Mazurkas in D, Op.33, No.3, in C, Op.56, No.2, and in F-
sharp Minor, Op.59, No.3. Another reason comes from the fact that Chopin mazurkas constitute
a “far-reaching stylization” or even an “idealization of the dances within their joint, borderland
areas.”46 Consequently, subtle emphasis on certain elements offers an opportunity for the
performer to make independent decisions about the character of all or particular fragments of the
mazurkas.
The identification of the specific type of mazurka dance may be very valuable, as it
affords the pianist an explicit idea of choreographic motion, and would perhaps inform the
articulation of musical features in the translation of dance motions to the music.47
Krakowiak
Aside from the most famous dances in triple meter, dances in duple rhythm should also be
discussed. The krakowiak originated in the province of Kraków, and is a quick and
temperamental dance in 2/4 time with characteristic syncopation, which may be articulated as
♪♩ ♪ or ♪ ♩̣ with the characteristic appearance of this figure at the end of the basic two
phrases as ♫ ♫ | ♪ ♩ (Ex. 20 and 21). The significance of krakowiak seems to be its role as
the climactic finale in a sequence of dances.48
46
Ibid., 2.
47
Czekanowska, Polish Folk Music, 195.
48
Ibid., 195.
２２
Example 20: Typical rhythm of the krakowiak: Krakowiskie, no.395, collected by Kolberg.
Example 21: Typical rhythm of the krakowiak: Krakowiskie, no.603, collected by Kolberg.
Krakowiak elements may be found in Chopin’s Rondo a la Krakowiak for Piano and
Orchestra, Op.14 (1828), whose main theme is strongly resembles “Albośmy to jacy tacy,” a
popular proszowiak of the time, which was collected by Oskar Kolberg later. Such thematic
material may also be found in the Rondo in C Minor, Op.1, and in the last movement of the
Piano Concerto in E Minor, Op.11.49
Typical characteristics of krakowiak can be seen in the following examples, Paderewski’s
Polish Fantasy, Op.19, and “Krakowiak” from Dances Polonaises, Op. 9, No.1 (Ex. 22 and 23).
49
Stephen Downes,, “Krakowiak,” The New Grove Dictionary of Music and Musicians, 2nd ed., edited by Stanley
Sadie and John Tyrell. Vol.13, pp.868-869. (London: Macmillan, 2001).
２３
Example 22: Krakowiak: Paderewski, Polish Fantasy, Op.19, mm.539-543.
Example 23: Krakowiak: Paderewski, Dances Polonaises, Op.9, No.1 Krakowiak mm.1-5.
Polish Fantasy Op.19 has national color in common with Chopin’s Polonaise-Fantasie
in A-flat Minor Op.61. Though the title seems quite confusing, it might be clarified and readily
remembered if one takes “Polonaise” of Chopin’s title as the form of the composition and the
“Fantasie” qualifies it, whereas the “Fantaisie” of Paderewski’s title as the form of his work and
the “Polonaise” ensures it (Ex. 24a and 24b).50
50
Henry E Krehbiel, “Analytical Notes on M. Paderewski’s Programmes,” ed. Maja Trochimczyk. Polish Music
Journal 4 (Winter 2001), 1.
２４
Example 24a: Chopin, Polonaise-Fantasie in A- flat Minor, Op.61, mm.1-7.
２５
Example 24b: Chopin, Polonaise Fantasie in A -flat Minor, Op.61, mm.20-31.
Chopin’s Grand Fantasia on Polish Airs in A Major, Op.13 (Ex. 25a and 25b) might
also be regarded as associated with Paderewski’s Fantasy, but they are essentially different in
such critical respects that Paderewski’s Polish Fantasy is on original themes as appeared in the
title, while Chopin’s consists of an introduction followed by variations on a Polish popular song
and an air by a Polish composer, Kurpiński, and the kujawiak as ending.51
51
Ibid., 1.
２６
Example 25a: Chopin, Fantasia on Polish Airs, Op.13, mm.55-64.
Example 25b: Chopin, Fantasia on Polish Airs, Op.13, mm.249-258.
２７
CHAPTER III
COMPOSITIONAL TECHNIQUE IN POLISH FANTASY, OP.19
History of Fantasy
Fantasia is defined, in its earliest and broadest sense, as “a term adopted in the
Renaissance for an instrumental composition whose form and invention springs ‘solely from the
fantasy and skill of the author who created it.’(Luis de Milan, 1535-6).”52 The characteristics of
the fantasia genre have been specified as “the attempt to bypass the artistic norm current at any
time and, independently of them, to allow the creation of a musical work to depend exclusively
on the inventive power (fantasy) of the artist.”53 From the sixteenth to the nineteenth century,
the fantasia retained this somewhat vague definition, and the traits of the fantasia may be seen to
vary extensively from strict and more or less standard sectional forms to free, improvisatory
types.
Generally, the fantasia is regarded as a typical Romantic genre, as far as it challenges
rigorous artistic rules and the conventional standard of evaluation and is to be considered as an
arbitrary event or as the outcome of the composer’s feelings.
Tracing the progress of the fantasia along its path on the fringe of the musical mainstream
is an important process that offers insights into the varied definitions of the genre. Given the
freedom afforded the fantasia at any time in its history, it is a unique genre as the character of the
fantasia was affected to varied degrees from the outside by the nature of more codified genres
and the historically contemporary norms.
52
Peter Schleuning, The Fantasia, translated by A.C. Howie. (Cologne: Arno Volk Verlag, 1971), 5.
53
Ibid., 5.
２８
The Fantasy of the Eighteenth Century
The primary characteristics of the eighteenth-century fantasias continued to be the
freedom from its Renaissance and seventeenth-century predecessors: freedom of rhythm and
tempo, omission of bar lines, free adoption of instrumental virtuosity, adventurous trials in
harmony and modulation. Just as in sixteenth and seventeenth centuries, however, fantasias of
the eighteenth century were not literally “formless,” but many of them employed the forms and
styles of other contemporary genres (dance movement, prelude, capriccio, invention, variation,
toccata, sonata movement, etc.).54
In the seventeenth century, the rich tradition of the fantasia had begun to shift: from the
instrumental ensemble side, which became more or less insignificant by 1700, to the sonata and
sinfonia, especially in Italy, and from the keyboard side, which was to remain important in the
eighteenth century, to the toccata, capriccio and prelude-fugue pairing, especially in Germany.
As fantasia moved to the genres of prelude, toccata, and the capriccio to a certain extent, this
established the basis of the style called stylus phantasticus, a notion used from the time of
Kircher (1650). The traits of stylus phantasticus changed significantly in the seventeenth century
from the imitative style of the fantasia to the free style of the toccata and prelude.55
In the first half of the eighteenth century, the artificial features of the imitative fantasia
disappeared, so that stylus phantasticus came to denote exclusively non-imitative, capricious
playing “for the particular enjoyment of the experts,” its different manifestations, whether
54
William Drabkin, “Fantasia,” The New Grove Dictionary of Music and Musicians, 2nd ed.,edited by Stanley Sadie
and John Tyrell. Vol.8, p554. (London: Macmillan 2000).
55
Ibid., 554.
２９
composed or improvised, intended “to give the impression that they were being played
extempore.”56
J.S. Bach composed fifteen known fantasias that, while not systematically fugal, nearly all
use contrapuntal imitative procedures. Among the works of Johann Sebastian Bach, his
Chromatic Fantasia in particular played an important role in the advent of the free fantasia. The
composers who developed and molded the free fantasia were exclusively immediate pupils of
Bach, especially his second son, Carl Phillip Emanuel Bach, the champion of the musical
Empfindsamkeit.57
In CPE Bach’s Versuch, the well-known chapter on improvisation is dedicated wholly to
the free fantasia. It is stated that, “A Fantasia is said to be free when it is unmeasured and moves
through more keys than is customary in other pieces, which are composed or improvised in
meter.”58
Among his seven most important fantasias (H.277~8, 279, 284, 289, 291, 300), all
composed between the years of 1782 and 1787, only two (H 289,192) are wholly barred. The
other sixteen were composed between 1753 and 1770; half of which are wholly or partly
unbarred and are considerably bolder in harmony and melody.59
According to C.P.E. Bach’s remarks, the free fantasia is distinguished by the fact that “it
contains no regular bar groupings and side-steps into more keys than is customary in other
pieces.” Again it demonstrates the deviation of the fantasia from the norm, but also draws our
attention to an essential feature of the fantasia style: extreme harmonic freedom, the fantasia’s
chief structural tool. He regarded the interrupted cadence and enharmonic exchange as the most
56
Schleuning, The Fantasia, 6.
57
Drabkin, “Fantasia,” 555.
58
Carl Philipp Emanuel Bach, Essay on the True Art of Playing Keyboard Instruments, trans.and ed. William
Mitchell. (New York: W.W. Norton, 1949), 249.
59
Drabkin, “Fantasia,” 555.
３０
crucial devices in this art for aesthetes, stating, “These and other reasonable ruses make a
fantasia good.” He thus established a classical formula for balance between “order”
(“reasonable”) and “disorder” (“ruses”), a formula which was to be observed in all instances
throughout the history of the genre with successive composers such as Schumann. “The
reasonable utilization of enharmonic ingenuity” which “opens up a variety of possibilities…of
effecting always novel and suitably impressive modulation,” also describes this key concept.60
The free fantasia encompassed all the elements of compositional freedom exclusive of
imitative writing, as well as those from the freest genres of the previous era, those being the
prelude, toccata, capriccio, tombeau, cadenza, and instrumental recitative.61 C.P.E. Bach stated
that the principal of the free fantasia was “to excite and to calm many affections in close
succession” and “to effect the sudden unexpected change from one affection to the other,” thus
making one able to “master the emotions of his audience.”62
The exponential increase of musical freedom gained from the growth of the free fantasia
liberated the musician from traditional, social and musical limitations, evincing the change in
direction of musical development around 1750, from the official realm of the court and the
church with their strict and stylized musical language to the liberated, familiar middle class
music which concentrated increasingly on the individual and the confessional-self style. All the
great composers of fantasias in the second half of the eighteenth century, C.P.E. Bach, W.F.
Bach, Mozart, and Beethoven, participated in this trend.63
60
Schleuning, The Fantasia, 9.
61
Ibid., 6.
62
Ibid., 8.
63
Ibid., 7-8.
３１
The Fantasy of the Nineteenth Century
This distinction between the standard genres and the genre of the free fantasia began to
disappear at the turn of the century, and the “connoisseur art” began to intrude upon the sonata
and symphony. The adoption of the fantasia style in the sonata implied the end of the truly free
fantasia, and, according to Schumann, of the Classical era.
In the nineteenth century various types of pieces, some programmatic in nature, others
short character pieces or variations on a borrowed tune, attempted to suggest a particular mood in
the title and through the music itself.64
In the period of Mozart, Haydn and Beethoven, the conflict between freedom and form
was a driving force such, that clear distinction between forms like the sonata or rondo and the
actual form of fantasy had begun to break down, as illustrated by the fantasias of Beethoven,
which both maintain and break from tradition.65
The fantasia of 1809 for piano, Op.77, is in a single movement and has contrasts of tempo
and figuration that are explicitly in the Empfindsamer stil of C.P.E. Bach. By consolidating the
principles of free and modified sonata movements of this type with the tradition of the fantasia as
a sonata introduction, Beethoven created the “Sonata quasi una fantasia” (Op.27, No1 and No.2),
the term associated for the first time with the idea of large-scale unification of a multi-movement
work, consisting of a sonata with a freer initial movement. In Op.27, No.2, the indication
‘attacca’ is used for the first time to join all three movements. It is significant that the typical
features of the fantasia in the first movement of the “Tempest” (Op.31, No.2) also belong to this
64
Ibid., 15.
65
Ibid., 15.
３２
type: free, irregular theme structure, long interpolated passages of recitative, and fantasia-like,
improvisatory qualities.66
Expansion of both the formal and significant expressive aspects of the fantasia concept is
present in many of Beethoven’s later piano sonatas and quartets, as illustrated in his final piano
sonata, Op.111, which is clearly a fusion of the historical fantasia-fugue sequence and the
contemporary fantasia-variation.67
To the Romantics, the fantasia presented far greater freedom, which provided solutions
for an expansion of forms, both thematically and emotionally, though the design of sonata itself
had developed into a more or less rigid form. As a result, the nineteenth-century fantasia grew
in volume and scope to become as musically substantial as large scale, multi movement works.68
The fusion of sonata and fantasia may be observed in all the important large fantasias
composed in the first half of the century, as well as in symphonies and sonatas, such as
Schubert’s Fantasy in C Major, “Wanderer Fantasia,” D. 760 (1822) and Sonata in G Major,
D.894 (1826), Schumann’s Fantasia, Op. 17. Mendelssohn’s Op.28 (1833) is a loosely
constructed but motivically connected single movement.69
Composers in the nineteenth century modified and experimented with the concerto to
accommodate the new phenomena of the virtuoso performer, the enlarged orchestra, and the
growing dissatisfaction with sonata form. The rules and restrictions of Classic forms were either
modified to admit a certain musical idea or abolished altogether. Consequently, to many
composers, sensational effects in the orchestra and solo parts were of primary importance to the
66
Ibid., 14.
67
Ibid., 15.
68
Ibid., 17.
69
Kathleen Dale,. Nineteenth-Century Piano Music: A Handbook for Pianists. (London: Oxford University Press,
1954), 137.
３３
balance and structure of the form, although to other composers, the traditional examples of
Mozart and Beethoven were the models. Greater freedom of both form and content became the
ideal of the Romantic composer.70
Carl Maria von Weber’s (1786-1826) Konzertstück in F Minor (1821), the last of three by
the composer and his most notable piano concerto, is in one movement divided into four sections
indicated by changes in tempo and key. In retaining the Romantic concept of uniting the musical
and the literary, Weber’s Konzertstück is programmatic, offering a musical description of
medieval knights, ladies, and crusaders.71
The major contributions of Liszt in the realm of the concerto are the Piano Concertos in
E-flat Major (1856) and A Major (1861) and the Totentanz (1862) for piano and orchestra. All of
these works feature overwhelming volumes of sound. In the E-flat Concerto, Liszt applies
thematic transformation as a unifying tool from section to section. In the A Major Concerto,
Liszt established complete continuity of thought in a one-movement concerto that is rhapsodic
character. The Totentanz is an early example of theme and variation as a form for a solo and
orchestra.72
Felix Mendelssohn wrote two piano concertos, which were entirely different from the
grandiloquent style of Liszt. The first piano concerto in G minor is a three movement work in
which the movements are played without break.73
70
Wendell Nelson, The Concerto. (Dubuque; WM.C.Brown Company Publishers, 1969), 49-50.
71
Ibid., 50.
72
Ibid., 52.
73
Ibid., 55-56.
３４
Schumann’s A Minor Piano Concerto, Op.54, emerged as the key Romantic concerto
from the first part of the century. Its first movement is written in fantasy form, relying on
consecutive thematic transformation instead of conventional sonata form.74
Formal modifications, including all the other values such as improvisation, unique
harmonic orientation with its concentration on looseness of tonality through change of mode,
enharmonic relationships, dramatic interruptions, changes of tempo and style, and the use of
recitative, are found in all the fantasy literature of nineteenth century. Finally, the virtuosity of
the fantasy is greatly expanded in this period, with the development of new coloristic and
figurative possibilities realized for the pianoforte by such composers as Schubert, Mendelssohn,
Schumann, and Liszt.75
Analysis of Polish Fantasy, Op.19
Background of Polish Fantasy, Op.19
Paderewski wrote his Polish Fantasy on Original Themes in G-sharp Minor for Piano
and Orchestra, Op.19 in the summer of 1893, his third orchestral piece, besides his youthful
Overture and Piano Concerto in A Minor, Op.17 (1888). Only one source is available regarding
the composition of the Polish Fantasy, Op.19, and it is by Paderewski himself in his Memoirs:
I spent the summer of 1893 […] in Yport […] in Normandy […] I got down to composition and I
started a composition, a “Polish Fantasia,” for piano and orchestra, which I finished within five
weeks.76
The first performance of the work was held on October 4 of 1893 at the Norwich Festival
in England with an orchestra conducted by Alberto Randegger. The concert was proclaimed
the most attractive and sensational of the festival, and featured Paderewski both as a composer
74
Ibid., 62-63.
75
Jesse Parker, “A Clavier Fantasy from Mozart to Liszt: A Study in Style and Content.” (Ph.D dissertation,
Stanford University, 1974), 55.
76
Paderewski, The Paderewski Memoirs, 267.
３５
and a pianist. Interestingly, rehearsals preceding the premiere were held at the Salle Erard in
Paris, with the accompaniment of the joint orchestras of Lamoureux and Colonne.77 Camille
Saint-Saëns, who was one of the invited listeners, applauded Paderewski on his harmonic ideas,
and judged him to be among the greatest composer of the day. The London publisher Meyer
bought the right to perform the work in London for 8000 marks.78
Paderewski dedicated the Polish Fantasy, as he did the Nocturne in B-flat Major, Op.16,
to Romanian aristocrat, Princess Ralouka de Brancovan, his longtime patron, friend, and
advocate of his music.
At the concert in March 1895 at the Champs-Elysées Hall in Paris, the Fantasy was heard
again. Paderewski received enthusiastic applause and fervent response, with shouting and
whistling, especially from the young people in the cheaper seating areas; the uproar necessitated
a call to the police to restore order.79 At the same time, in the Parisian press, including the papers
Mot d’Ordre, Gil Blas, Le Gaulois, Menestrel, Le Soir, a heated debated was taken up on the
Fantasia, which, “though it had been performed ‘in a masterly fashion’, was ‘grotesque’, and
according to Gauthier- Villars a ‘habanera for bears[…] laughably embellished with mouldy,
unfashionable and lamentable ornamentation.”80
Contrary to the above unfavorable opinion, the imminent critic of the London Sunday
Times, said:
The new Fantasia proved to be a symphonic poem for piano and orchestra in four movements
(not three, as stated in the analysis), and a thoroughly well-thought out musicianly work to boot.
Its chief characteristics are its intense national feeling, its constructive skill, and its enormous
difficulty. […] The bold introductory passages merge imperceptibly into the well-worked allegro
moderato; the impetuous scherzo, with its mazurka rhythm, brings a great change, but in the
77
Perkowska-Waszek, “Preface,” 13.
78
Perkowska-Waszek, “Preface,” 14.
79
Ibid., 13.
80
Ibid., 13.
３６
andante (a gem of dreamy, plaintive melody), the composer is in reality metamorphosing material
from his allegro; while the finale, after starting with a dashing Cracovienne, obtains its most
grandiose effect from the theme of the scherzo, given here in augmentation.81
The same article mentions that the Fantasia consists of four movements containing
common thematic materials, and that, though sharply contrasted in style and feeling, the themes
are strongly national and all original and are derived from two or three thematic cells.
The first Polish performance of the Polish Fantasy was held on 15 January 1899 in
Warsaw, with the orchestra of the Grand Theatre conducted by Emil Młynarski.82
Later, Polish Fantasy was performed by Paderewski at the Royal Academy of Music and
St. James’s Hall in London, as well as in Glasgow, Bristol, Aachen, Leipzig, Vienna, Rome,
Moscow, and St. Petersburg. Performances were also given in the US, including Boston, New
York and Chicago, and in Australia in Melbourne and Sydney. Paderewski was accompanied by
the leading orchestras under the most renowned conductors of the time, including George
Henschel, Ernest von Schuch, Arthur Nikisch, and Walter Damrosch.83
Paderewski wrote about one of these performances to his friend, Helena Górska, who
would later become his wife:
The day before yesterday I played the Fantasy in Glasgow with Henschel. The performance was
superb, ideal, and indescribable. It is a shame that the same orchestra will not be playing on
84
Wednesday.
As it was composed by a world-famous virtuoso, and was performed to enthusiastic
response around the world, the work left a mark in musical culture outside Poland, and played a
81
Finck, Paderewski and His Art, 42.
82
Małgorzata Perkowska-Waszek, “Preface,” 14.
83
Ibid., 14.
84
“The letters quoted in this paragraph from Paderewski to his father and to Helena Górska originate from a
collection kept in the private archive of Anne Strakacz-Appleton from California. The letters donated by Ms
Appleton to the Paderewski Centre are currently kept at the Jagiellonian Library. The publication of all 300 or so
letters from 1872-1896 is planned.” (Małgorzata Perkowska-Waszek, “Preface,” 15).
３７
significant role in global awareness of Poland, a country non-existent at the time, through its
very title and regional contents.85
The Polish Fantasy was not published until 1895, almost two years after the premiere,
which may have been related to a certain conflict with the publisher, Bote & Bock of Berlin.
Besides the original edition of the Fantasy, the score was also published by G. Schirmer (New
York, 1895 and 1914); the composer’s arrangement for two pianos was published by Ed. Bote
and G. Bock in 1895.86
Paderewski did not record the Fantasy, even in fragments. The first recording is credited
to Felicja Blumenthal and the London Symphony Orchestra, conducted by Anatole Fistoulari in
1954. Several recordings followed after that.87
Overall Form of Polish Fantasy, Op.19
The work is comprised of a single movement divided into four sections, unified by
common thematic materials that have strongly national character yet are all original and sharply
contrasted in style and feeling. The use of harp is a rather unusual and noteworthy feature. The
first section begins with a ponderous introduction that is succeeded by a lyrical interlude. Then, a
tempestuous climax appears, and a return to the introductory material follows after that. In the
second section, a new melody, characterized by a Mazovian dance rhythm, is presented. In the
third section, an andante, a beautiful, almost mystical dialogue takes place between the piano and
orchestra in a manner reminiscent of a dumka in Polish style. In the last section, a vivacious
krakowiak, one of Poland’s most graceful and exquisite dances, is introduced.
85
Małgorzata Perkowska-Waszek, “Preface,” 15.
86
Ibid., 16.
87
Ibid., 16.
３８
The theme is heavily syncopated and has a sharp rhythmic profile. It features several
climactic moments and an extensive cadenza, where the timpani and piano collaboratively lead
to a fervent coda. A brilliant series of double octave leaps in the piano brings the work to an
exciting conclusion .88
88
Zygmunt Stojowski, “Program Notes on Polish Music,” Polish Music Journal 5 (Winter 2002), 5.
３９
89
Section 1 (1-239)
Seg 1 (1-71) Seg 2 (71-114) Link (114-115) Seg 3 (116-156)

Main th 1* Sub th1 main th 1 main th 3* Sub th 2
O(10) S(11) O (23) S(24) O(43) S(71) O(81) O,S(114) O(131) S(156)
V/g# V/g# V/V V/V i/g# i/g# i/g# i/c# i/c#
Seg 4 (156-180) Seg 5 (180-202) Link (202-221) Seg 6 ( 221-239)

Main th 3* Main th3＋Main th 1 Main th 1* Main th 3*
O,S (180) O＋S (204) O,S (221) O,S (239)
i/g# I /A i/g# i/g#
４０
orchestra, ‘s’ the solo, ‘th’ the theme, and ‘sub’ the subsidiary theme.
Table89 1. Formal diagram of Paderewski, Polish Fantasy, Op.19, section 1.
The mark,*, indicates the fragment of the main theme, ‘＋’ the themes played together, ‘seg’ the segment, ‘o ’ the
Section 2 (240-424)
Segment 1 (240-336) Segment 2 (336-424)

Main th 2 Main th 2
O (279) S(297) O,S (308) O,S (320) O,S (336) O,S (348) O,S(424)
I/C i/dm i/am i/em I/C I/C V/g#
Polish Fantasy,Op.19, section 2.
Table 2. Formal diagram of Paderewski,
４１
Section 3 (425-538)
Main th 3＋Main th 1 Main th 3＋Main th 1 Main th 3

O (446) S (462) O(490) O (502) S (520) O (530)
V/g# i/g# i/c# V/D#
Polish Fantasy, Op.19, section 3.
Section 4 (539-922)
Segment 1 (554-692))
Mat. a² a¹ a¹ c b², c¹ b², b¹ d
S (546) S (563) O (577) S (589) S (605) S,O (622) O (648) S (670) O (692)
V/A♭ I/ A♭ V/A♭ I/C V/A♭ V/A♭
Segment 2 (693-801) Segment 3 (801-922)

Polish Fantasy, Op.19, section 4.Table 5.
a¹＋b¹ a¹ c¹*, b³, b¹ c¹, b³, b¹ b¹ c²,c³,c⁴, d a² c, b³ c, b², b¹, d, b¹＋d

O＋S (703) O (721) S (732) O (745) S (749) S (801) O, S (831) O, S (839) O, S (922)
V/ A♭ i/a♭ i/g# i/f# i/c# I/E I/A♭ i/f i/g#
４２
Coda (1042-1134)
Main th 4* Main th 2 Main th 4* Main th 2 Main th 4＋Main th 2

O (1048) O, S (1052) O (1060) O＋S (1134)
I/A♭ V/E♭ V/A♭ I/A♭
Polish Fantasy, Op.19, coda.
Table 5. Formal diagram of Paderewski
Section 1 (mm.1-239)
The first section, Allegro moderato, in G-sharp minor and in 2/4 time, presents the
principal melodic idea of the work.
This section can be divided into six segments. The first segment is 71 measures in length
and presents the main theme 1*90, outlined by the dialogue between the orchestra and the solo,
featuring one of the most prominent features of Paderewski’s composition: avoidance of the
tonic. Until the arrival on the tonic in m.43, five half cadences appear in m.9, m.11, m.22, m.24,
and m.34. The full length of the theme 1 is given by the piano in m.43-71 (Ex.26).
mm.41-75
90
The mark, * , indicates the fragment of the main theme.
４３
Example 26: Main theme 1: Paderewski, Polish Fantasy, Op.19, mm.43-71.
In addition to the appearance of the main theme 1, two subsidiary themes are also used
throughout this section, themes which are neither developed nor employed in the other sections.
４４
The main compositional technique of the Fantasy is thematic transformation; thus, the separation
between the main and subsidiary themes is necessary in the scope of this technique.
The first subsidiary theme is announced in mm. 25-34 (Ex.27).
mm.25-40
Example 27: Subsidiary theme 1: Paderewski, Polish Fantasy, Op.19, mm.25-34.
The first main theme contains another important characteristic, that being the repetition of
the short melodic idea along with the introduction of the three main intervals of the fourth, fifth,
and second. In mm. 43-59, the head of the first main theme (mm.43-51) is repeated (mm.51-59)
with measures structured 2+2+1+1+2. In the middle of the theme (mm.59-66), the two measure
melodic unit is stated four times, and the main theme 1 is closed with the tail (mm.67-71) with
structure of 1+1+1+1.
Not only is the interval of the fifth an important intervallic cell within the theme, but it is
employed between the cadences. Within the first segment, the cadences are to the tonic in G
４５
sharp minor in m.43, C sharp minor, m.59, and again to G sharp minor, m.71, closing the first
segment.
The second segment (mm.71-115) announces the main theme 3* which is constructed by
the repeated pattern of a minor second and reappears as a fully stated main theme 3 in section 3
later. Again, at the beginning, the orchestra alternates with the solo using the same method found
in the beginning of the piece with the fifth relationship between the cadences found on the tonic
of G sharp minor, in m.81 and on the tonic of C sharp minor in m.106.
The third segment (mm.116-155) contains the second subsidiary theme played twice, first
by the orchestra (mm.116-131) followed by the piano (mm.131-156) (Ex.28).
mm.115-143
４６
Example 28: Subsidiary theme 2: Paderewski, Polish Fantasy, Op.19, mm.115-143.
With the reappearance of the main theme 3* in segment 4 (mm.156-180), the segment
progresses to the tonic cadence at m.180 on G sharp minor, using a long dominant pedal point
which creates the tension needed for the return of the main theme 1 (mm.168-179).
４７
Another well-planned treatment of the themes is found in segment 5 (mm.180-221), in
which themes 3* and 1 are combined. The first theme is re-announced by the piano, while the
orchestra produces a fragment of the third theme in mm.182-186 (Ex.29).
mm.178-186
Example 29: Combination of the themes 3* and 1: Paderewki, Polish Fantasy, Op.19, mm. 180-186.
The fragmentary use of themes is another feature of Paderewski’s treatment of themes
and combinatorial thematic treatment. Realization of complete themes is accomplished by the
gradual use of fragments, as well as the application of rhythmic variation for developmental
４８
interest. The last measure of segment 5 (mm.210-221) provide the transition to the next segment
with great suspensions based on the fragment of the theme 1 and a short cadenza.
The sixth segment (mm.221-239) is dominated entirely by the first measure of the theme
3, providing the long pedal point of the tonic of G sharp minor, while the introduction of F
natural and D natural near the end of the section 1, mm.227-239, suggests and prepares
modulation in the next section.
The second section, Vivace non troppo, in C major is in 3/4 time in the rhythm of the
krakowiak.
With regard to the tonality, the second section can be divided into two segments. With the
modulation to the remote key area from G sharp minor to C major, Paderewski employs his
hallmark technique of realizing enharmonic equivalents. In the beginning of this section, G
sharp is spelled as A flat and the note G, a dominant of C major arrives only five measures later.
As seen in the opening of the first section, the orchestra plays a fragment of theme 2 with a huge
crescendo building up to fff (mm.240-277) (Ex.30), which is then fully stated by the solo
(mm.279-297) (Ex 31).
４９
Example 30: Main theme 2*: Paderewki, Polish Fantasy, Op.19, mm.240-269.
５０
mm. 279-299
Example 31: Main theme 2: Paderewki, Polish Fantasy, Op.19, mm.279-297.
The intervallic structure is also based on the intervals of the fourth and the second, with
the characteristics of oberek as discussed in the earlier chapter in this study. The fifth
relationship between the cadences, also found in this section, is as follows: tonic of D minor in m.
297, of A minor in m.309, and of E minor in m.320.
In segment 2 (mm.336-424), while the piano produces the glittering descending chromatic
scale in the high register, the fragment of theme 2 is heard in augmentation beginning in m. 382.
From mm. 382-398, the five measure unit fragment is utilized three times in transposition down
a whole step from A flat (mm.382-386) to F sharp (mm.387-391) and to E (391-395). After the
long dominant pedal of G sharp minor facilitates a smooth sectional segue by the descending
chromatic scale doubled at the third (mm.412-418), this section returns to the tonic of the piece,
through a molto ritenuto and lento ending with a fermata.
The third section, Andante molto sostenuto, is in the key of G sharp minor in 2/4 time.
５１
The main theme 3 of the third section is based on the half-step motion derived from the
ending of the first theme shown in m.70. The entire third theme (mm.425-432) is played by the
violins. It is similar to the area in m.221; now the single measure is spun into a lyrical theme
(Ex.32).
mm. 425-435
Example 32: Main theme 3: Paderewki, Polish Fantasy, Op.19, mm. 425-432.
Section 3 displays marked similarities to section 1, not only because of the key scheme,
but also due to the similar length of the sections and the use of the orchestra and the piano. The
short cadenzas in both sections begins with D sharp (m. 11 and m.446) and A sharp (m.24 and
m.502) alternating, respectively, between the orchestra and the soloist. The use of the lengthy
５２
dominant pedal to reach G-sharp minor is also found in both sections; in the first, it may be
found from mm.168-180, and in the third in mm.520-530.
This section also reveals main themes 3 and 1 combined (Ex. 32 and see Ex.29).
The treatment of the orchestra and the solo is similar to the preceding two sections in the
sense of key scheme and construction between the orchestra and the piano. First, after the
introduction of the theme by orchestra, the solo answers in the manner of a cadenza, the first
time with D sharp in m.446 and the second time with A sharp in m.502. From m.520 to the end
of the section, a lengthy dominant pedal of G sharp minor, D sharp, is again utilized as the
foundation for the arrival on tonic in the subsequent section. Between the third and fourth, and
first and second sections, the compositional techniques employed to link both sections feature the
adoption of the enharmonic equivalent, the use of the long dominant pedal, and repetitive
figuration.
The fourth section, Allegro giocoso, in A-flat Major is in 2/4 time in the rhythm of the
krakowiak.
Avoidance of the tonic is the most distinct attribute of the harmonic features in the fourth
section. Although there are two points of tonic cadence, at m. 732 and m. 922, these do not
provide the sense of complete arrival on tonic. In this respect, one can say that there is no tonic
cadence within the entire fourth section until the moment the coda begins after the cadenza.
Section 4 can be divided into three segments containing four materials. Each segment
contains the variants of two basic materials, ‘a¹’ (mm.547-562), which may regarded as a main
theme of section 4 (Ex.33), and ‘b¹’ (mm.609-616) (Ex.34) which is developed from fragments
of the ‘a²’material (Ex.35).
５３
mm. 544-562
Example 33: Main theme 4 (material ‘a¹’): Paderewki, Polish Fantasy, Op.19, mm. 547-562.
mm. 605-614
Example 34: Material ‘b¹’ : Paderewki, Polish Fantasy, Op.19, mm. 609-614.
５４
mm.539-548
Example 35: Material ‘a²’: Paderewki, Polish Fantasy, Op.19, mm. 539-546.
Material ‘a¹’ is constructed primarily of intervals of the second and the fourth. The tail
of this material is made up of an eight measure unit of a prolonged repeated cadential pattern as
shown in mm. 555-562 (Ex.33).
The ‘a¹’ presented by the orchestra in mm.563-577 repeats the previous ‘a¹’ played by the
piano (mm.539-563), with the last two measures omitted.
Material ‘c¹’ presented in mm. 577-589 by the piano is formed by short repetitive broken
chord figures in one measure units of rising and falling motion (Ex.36) .
５５
mm.575-592
Example 36: Material ‘c¹’: Paderewki, Polish Fantasy, Op.19, mm. 577-589.
５６
Material‘d’ (mm.648-657) can be recognized as a fragment of the main theme 2 in
rhythmic augmentation (Ex. 37). Later in the coda, materal ‘d’ will be fully realized as theme 2.
mm.643-662
Example 37: Material ‘d’ (Main theme 2 in augmentation) : Paderewki, Polish Fantasy, Op.19, mm. 648-657.
With the appearance of the long dominant pedal of A-flat major in mm. 670-692, the
section continues to the second segment (mm.693-801) beginning with an exact restatement of
‘a¹’ (mm. 693-703) first presented in the initial segment in mm.547-554. In m. 703, instead of
moving down to A flat, as seen in m.555 in the first segment, it sustains the note E flat, but
allows for the same tonal implication, arriving on the dominant of A flat major. After the
orchestra restates the ‘a¹’ in mm. 703-720, ‘c¹*’ is restated in A flat minor in mm. 721-724 and
５７
the material ‘b³’ appears in mm.725-728. Within this segment, the second serves as the interval
between cadences in descending stepwise motion as seen in tonic of G sharp minor in m.732, the
tonic of F sharp minor in m.745, and the last cadence of this segment the tonic of E major in
m.801.
While the violins play the ‘d’ material (mm.767-781), the accompanimental solo line can
be divided into three subsections based on the musical figuration. Material ‘c²’, mm. 749-766
is formed by scalar runs in ascending and descending motion with triplet and sextuplet figures,
while ‘c³’ in mm. 767-780 is constructed by the combination of the rising quintuplet and falling
double glissando at the third. Finally, ‘c⁴’, mm. 781-800, is dominated by ascending broken
chord arpeggios, with the tonal shift in m. 792 resulting from the transposition up a half step.
In the third segment (mm.801-961), the modulation occurs again by half step as follows:
E sharp to F sharp in mm.740-741, G to G sharp in mm.790-791, and E to E flat in mm. 810-811,
from the tonality of C major to A flat major. This progression produces an unusual distant key
modulation from A flat major; A flat major (mm.539 608) - E flat major (mm.609-693) - A flat
minor (mm.693-724) - G# minor - (mm.725-764) - C major (mm.765-800) - E major (m.801-
810) - A flat major (mm.811-961).
Mm. 835-838 include an exact restatement of mm. 725-728 reharmonized in A flat minor,
but in the following measures, the tonal adjustment occurs with the adoption of the tail of ‘c¹’ in
the region of F minor in mm. 839-842, followed by the final statement of ‘b¹’in this section in
the tonal region of A flat major with the addition of ‘b³’ in mm. 843-847. Compared to the
second segment, mm. 847-856 are an exact transposition of mm. 609-618, and mm. 872-903 are
an exact transposition of mm. 632-663.
５８
Cadenza (mm. 926-1041)
With the arrival in G sharp minor, the home key of the Polish Fantasy, the opening of the
cadenza recalls the opening solo cadenza of the piece (Ex.38 and Ex.39).
The cadenza contains three elements from the preceding parts. Mm. 926-988 are a
modified version of the opening cadenza, mm. 988-1022 are developed based on the first main
theme; and mm. 1022-1041 are derived from the fragment of the material ‘c¹’ in the fourth
section combined with the first theme (Ex.40).
５９
Example 38: Cadenza: Paderewki, Polish Fantasy mm. 962-990.
６０
Example 39: Opening Cadenza: Paderewki, Polish Fantasy mm. 7-11.
mm.1020-1031
Example 40: Combination of materials ‘c¹’ and the theme 1: Paderewki,

Polish Fantasy mm. 1022-1029.
６１
Coda
The continuity and sense of denouement achieved by the recurrence of the themes is a
most outstanding feature in the coda.
The coda contains numerous sections in which the second and fourth themes appear both
separately and together. The fragmented and rhythmically augmented second theme appears
five times each time spanning an interval of a fourth, F to B flat in mm. 1048-1052, B flat to E
flat in mm. 1060-1063, E flat to A flat in m. 1070-1073, A flat to D flat in mm. 1082-1085, and
finally back to E flat in m. 1094. In the following example, the second appearance of the second
theme is played by horns in m.1074, while the head of the fourth theme is played by the first
violins(Ex.41).
６２
Example 41: Combination of the themes 2 and 4: Paderewki, Polish Fantasy, Op.19, mm. 1074-1080.
６３
With the forceful Lisztian double octave figuration in the close of the piece, Paderewski
retrospectively emphasizes the interval of the fourth, which serves throughout the piece as the
primary important melodic cell, and the piece comes to an end in A flat major.
Eighteenth-Century Fantasy Elements in Polish Fantasy, Op.19
The Fantasy is comprised of several sections, which alternate between freedom and
stability to provide a balance between the free association of the fantasy style and the formal
expectations of the orchestral genre, one of the conflicting characteristics born out of the
eighteenth century.91
In the Polish Fantasy, alternation of such freedom and stability stylistically articulates
each section; the first and second sections may be regarded as stable, save the prologue, the third
free, the fourth stable, the free cadenza and the concluding stable coda.
Within the predominately free sections, however, various elements seek the balance
between both an internally free and the rigid style, creating discrete alternating stylized sections
within the larger architectonic structures. The free Prologue (mm.1-24) consists of a stable
passage (mm.1-10), followed by a brief measure of freedom (m.11), with a concluding and
balancing passage of stability (mm.12-23), and again followed by a measure of freedom (m.24)
(Ex.42).
91
Parker Jesse, “A Clavier Fantasy from Mozart to Liszt,” 52.
６４
Example 42: Alternation between free and stable sections: Paderewki, Polish Fantasy, Op.19, mm.1-11.
６５
This section presents the all important intervals - fifths, fourths and seconds – which
alternate between the stable orchestra part and the unbarred solo cadenza.
Free section 3 contains a stable passage (mm.425-445), followed also by a free passage
(mm.446-461); it is then followed by a stable passage (mm. 462-501), interrupted by a free
passage (mm. 502-519), and then reinstated (mm. 520-538). This section is dialogic between the
orchestra and the soloist, with the melody played mostly by the orchestra (Ex.43). It is one of the
characteristics of the work, as this dialogue reoccurs several times in the course of the piece.
６６
Example 43: Alternation between free and stable sections: Paderewki, Polish Fantasy, Op.19, mm. 494-510.
Although the free cadenza (mm.926-965) is barred throughout, its effect is heard as
improvisatory. The cadenza is realized in three discrete sections: free (mm.961-995), stable
( mm.996-1015), and free ( mm.1016-1041).
６７
Nineteenth-Century Fantasy Elements in the Polish Fantasy, Op.19
Paderewski’s Polish Fantasy is a one-movement work, which is sectionalized so as to
give the impression of four movements, one of the most characteristic fantasy elements of the
nineteenth century introduced originally by Liszt in his Piano Concertos in E-flat Major and A
Major and the Totentanz for piano and orchestra. Separate sections are ordinarily amalgamated
into one continuous work employing thematic transformation as a unifying device from section
to section as also introduced by Liszt.92
The thematic material expressed in the prologue is based on the establishment of the main
intervals, which provide the Grundgestalt from which the entire composition is shaped. Thematic
transformation is achieved through Paderewski’s deliberate use of variation technique, such as
melodic, harmonic, intervallic, or rhythmic alteration of thematic material.
The entire opening section is a masterpiece of thematic development of the three primary
intervals, the second, fourth, and fifth. The four themes are all composed around the combination
of these three intervals. When the themes return in different sections, rhythm, textures and
stylistic transformation do not obfuscate the integrity of the original material.
Each time the first theme is transformed it is by means of texture, accompaniment and
character (Ex. 44a, 44b, 44c and 44d).
mm.41-54
92
Wendell Nelson, The Concerto, 86.
６８
Example 44a: Main theme 1: Paderewski, Polish Fantasy, Op.19, mm.43-51.
mm.178-186
Example 44b: Main theme 1: Paderewski, Polish Fantasy, Op.19, mm.180-186.
Example 44c: Main theme 1: Paderewki, Polish Fantasy, Op.19, mm. 425-429.
６９
Example 44d: Main theme 1: Paderewki, Polish Fantasy, Op.19, mm. 1021-1030.
When the fragment of the second theme returns in the Allegro and Coda, it is occasionally
expanded in rhythm, increasing the thickness of the texture (Ex. 45a, 45b, and 45c).93 When the
theme is reappeared in the fourth section and coda written in 2/4 time, the melody is heard in
augmentation (Ex. 45b and 45c).
Example 45a : Main theme 2: Paderewki, Polish Fantasy, Op.19, mm.279-292.
93
For the main theme 3, see Ex. 29 and Ex.32; for main theme 4, see Ex. 33 and Ex.41.
７０
Example 45b: Main theme 2: Paderewki, Polish Fantasy, Op.19, mm.868-880.
mm.1091-1101
Example 45c : Main theme 2: Paderewki, Polish Fantasy, Op.19, mm.1094-1101.
７１
In this chapter, an attempt has been made to examine how Paderewski musically
combined his own musical personality with Polish folk music and fantasy elements in his Polish
Fantasy, Op.19, a one movement concerto for piano and orchestra.
Despite the illusion of the composition as absolutely free, rhapsodic, quasi-
improvisational, and unfettered by formal organizational restrictions on the surface level, it is
rather a highly organized composition which employs thorough thematic transformation,
developmental variation, and a number of musical structures both overt and covert. In this
regard, the work is a thorough synthesis of technical process and organization, while the generic
term fantasy, indeed the rhetorical devices and capricious illusions of the genre are carefully
orchestrated so as to render the variety of formal structures transparent. In addition, the spirit of
Polish folk music is captured effectively and is used in the calculated construction of the musical
milieu of the fantasia.
An important characteristic of the Polish Fantasy lies in the melodic realm, which
underscores Paderewski’s extraordinary transformative skills. The character of folk music and
the repetition of certain phrases and motives in variations, transformed in rhythm, texture, and
function, are evident in almost every theme of the Polish Fantasy. The main themes and
secondary themes and their transformations based on metric, rhythmic, tonal and agogic contrast
constitute the base of architectonic structure, in accordance with the compositional principles of
Romantic era.
Melodic elements, such as the pervasive intervals of second, fourth, and fifth, originated
from the Polish folk melodies, and reveal the composer’s thorough assimilation of the original
material.
７２
The use of avoidance of the tonic, enharmonic equivalents and unexpected harmonic
modulation is regarded as one of the most pronounced harmonic characteristics of the composer.
In this work, only three key areas are principally explored: G sharp minor, C major and A flat
major. The opening key, G sharp minor, is reiterated at the end as the principal tonal area; it
should be noted that A flat major is an enharmonic equivalent of G sharp. This overall key
scheme of this composition is, indeed, interesting.
The Polish Fantasy displays a variety of tempo changes between and within the sections
outlining Allegro-Vivace-Andante-Allegro-Presto. Paderewski skillfully prepares digressions by
subtly slowing down the tempo in preparation for the moment of diversion such that it becomes
thoroughly incorporated into the musical flow. Conversely, the speeding up of the rate of
harmonic change is another important factor in preparing for the sectional segues.
Tension is created through repetitive ascending motives, and the effect is intensified by
both an increase in the tempo and dynamic level, by thickening the texture with virtuosic
arpeggios and scales all spanning the entire range of the keyboard.
The melody is shared by both piano and orchestra, which reflects the Romantic model of
shared responsibility between the orchestra and the soloist. With the exception of the beginning
of the fourth section, the themes are produced by the orchestra and followed by a solo. Because
of this, the themes presented by the orchestra at the beginning of each section are often
fragmentary, to be realized in complete form by the piano. Once the piano has announced the
theme in full, the orchestra restates the melody throughout the rest of the section while the piano
plays a more ornamental role, with repetitive broken chord figuration, running scale patterns, and
chromatic scales.
７３
CHAPTER IV
PERFORMANCE ISSUES
In Polish Fantasy, Op.19, as in the earlier Piano Concerto, Op.17, Paderewski uses all the
technical and textural achievements in common practice since Chopin and Liszt, including
colorful orchestration. For instance, he uses single and double glissandi, figurations of
semiquavers and triplets in all registers, and melodic passages with doubled melodies in both
hands. The orchestra takes part as an active and equal partner, presenting both the melodic theme
material in solos and groups of instruments, or providing harmonic and rhythmic accompanying
material.
Pedaling
Paderewski’s opinion on the importance of studying the pedal alone is described in his
Memoirs:
The pedal is the strongest factor in musical expression at the piano, because first of all it is the
only means prolonging the sound. […] I repeat, it is the principal factor in expression because it
adds to the volume and the duration of the sound. It requires a great study, a special study when
trying to produce a real effect with it. In a way it is a science, the use of the pedal. […] You must
94
know it perfectly to be the master of the keyboard. Its importance cannot be overestimated.
Paderewski indicated a number of pedal marks to increase dynamic impact as seen in mm.
356-359, and mm. 1018-1025 (Ex.46 and 47). In Example 46, he uses long pedals in high
register accumulating resonance.
94
Paderewski, The Paderewski Memoirs, 329.
７４
mm.350-361
Example 46: Pedaling: Paderewski, Polish Fantasy, Op.19, mm.352-359.
In the following example, Paderewski indicates another long pedal with low bass
allowing powerful sonorities.
mm.1016-1025
Example 47: Pedaling: Paderewski, Polish Fantasy, Op.19, mm.1018-1025.
７５
As seen in Example 46, Paderewski indicated a long pedal after a few short pedal
markings; this can be applied in the beginning of the Fantasy to achieve a crescendo effect the
second time (Ex. 48 and 49).
Example 48: Suggested pedaling: Paderewski, Polish Fantasy, Op.19, mm. 7-11.
７６
Generally, the character of Romantic era keyboard composition demands a great deal of
pedal, yet there are sections where the performer must be extremely cautious not to overpedal.
The following figures, including the climax, require a clear and bright sound (Ex. 50, and 51).
Occasionally, the composer suggests special pedaling with certain dynamic markings to
create a particular coloristic effect (Ex.52 and 53).
７７
Example 52: Pedaling: Paderewski, Polish Fantasy, Op.19, mm. 436-448.
Example 53: Pedaling: Paderewski, Polish Fantasy, Op.19, mm. 507-510.
A hint of pedal can be used to emphasize accents and the down beat as well as the
difference between quarter and eight notes (Ex.54). Pedal can be also applied on the accents
７８
carefully graded by the composer as seen in mm.285-288 ( >, sfz, fff, and sfz with an accent) as
opposed to regular accents in mm.281, 283, 290 and 292 (Ex.55).
mm. 605-614
７９
Tempo Rubato
Paderewski regarded Tempo Rubato as a “popular instinct” outside of the “higher artistic
form” of the music.
Popular instinct evolved it probably long before the first sonata was written. Expressed although
nameless, it has always been in all national music. It is Tempo Rubato which makes the Hungarian
dances so fantastic, fascinating, capricious; which so often makes Viennese waltz sound like 2/4
instead of 3/4 time; which gives to the mazurka that peculiar accent on the third beat, resulting
95
sometimes in 3/4 + 1/16.
Tempo rubato, one of the most representative characteristics of Polish folk rhythm,
appears throughout the Polish Fantasy. To project the characteristics of the Polish folk dances
subtle rhythmic and agogic adjustments are necessary, as indicated below in Ex. 56 and 57.
Example 56: Tempo Rubato: Paderewski, Polish Fantasy, Op.19, mm. 279-284.
95
Ignacy Jan Paderewski, “Tempo Rubato.” In Success in Music and How It Is Won by Henry T. Finck, 454-461.
(New York: Charles Scribner’s Sons, 1909; reprinted in 1927),458.
８０
Example 57: Tempo Rubato: Paderewski, Polish Fantasy, Op.19, mm. 539-543.
It is noteworthy that Paderewski provided from among his compositions, the most
detailed interpretive indications in his Mazurkas and Krakowiaks. It is clear that he expected
each statement of a phrase to receive a slightly different treatment (Ex. 58).
８１
Example 58: Paderewski, Polish Dances, Mazurek in A Minor Op.9, No.2, mm. 10-22.
The same should hold true for many passages in the Polish Fantasy, although the symphonic
setting necessitates stricter musical flow.
The performer should carefully take into consideration tempo markings such as
accelerando, ritardando, etc. as suggested by the composer (Ex.59, Ex.60, and Ex.61).
８２
mm.41-54
Example 59: Paderewski, Polish Fantasy, Op.19, mm. 43-54.
８３
mm.442-466
Example 60: Paderewski, Polish Fantasy, Op.19, mm. 446- 463.
８４
Example 61: Paderewski, Polish Fantasy, Op.19, mm. 888-921.
In the beginning cadenza, the separation of the third beat achieved by the anticipatory
sounding of the second note in m.11 and m. 24 creates a pesante effect as Paderewski indicates.
The second entrance of the solo should be interpreted with different freedoms; including details
of dynamics from the first cadenza section, for example with exaggeration of the tempo changes
(see Ex.48 and Ex.49).
８５
Fingering
He provided numerous fingerings in the printed scores of his pieces. Composer’s
fingering that produce a clear sound and maximum tone are shown in the following examples
(Ex.62, 63, 64 and 65).
Example 62: Fingering: Paderewski, Polish Fantasy, Op.19, mm. 300-312.
８６
Example 65: Fingering: Paderewki, Polish Fantasy, Op.19, mm. 1021-1030.
８７
CHAPTER V
CONCLUSION
The common characteristics of Polish folk dances and the history of the fantasy have
been offered in order to understand how Paderewski, in his Polish Fantasy, used these generic
elements from the latter part of the eighteenth century through the major portion of the
nineteenth century, as well as how he understood the rhetoric of the single movement concerto
introduced by nineteenth-century composers.
Polish Fantasy is a single movement work divided into four sections with common
thematic materials, all of which are strongly nationalistic and all original, though sharply varied
in style and feeling.
In almost every theme of the Polish Fantasy, general characteristics of Polish folk music,
including the repetition of certain motives, fragments and phrases, are evident. The themes and
their transformations, all based on metric, rhythmic, tonal and agogic contrast, form the
foundation of the architectonic structure of this work, in accordance with compositional
principles of Romantic era.
Three hallmark harmonic features - avoidance of the tonic, enharmonic equivalents and
unusual harmonic modulatory procedures - are prominently used, and a variety of tempo changes
is observed between and within the sections and helps better prepares the transitions between
otherwise disjunct tonal regions.
Paderewski considered pedaling one of the strongest factors in musical expression at the
piano. He indicated a few pedal marks to increase the dynamics, and suggested special
pedaling with certain dynamic markings to create certain sound effects.
８８
Tempo rubato is pronounced, just as in Polish folk music. Suggestions for fingerings
intended to produce a clear sound and greater presence of tone are offered.
In his Polish Fantasy, Op.19, as in the earlier Piano Concerto, Op.17, Paderewski
incorporated all the technical and textural achievements extant from the virtuosic works of
Chopin and Liszt.
An analysis of the three characteristic aspects of the Polish Fantasy - the combination of
Polish folk music, the idea of fantasy, and the one-movement concerto may help performers
better to understand this composition and offer helpful suggestions for performance.
８９
APPENDIX A
LIST OF WORKS IN CHRONOLOGICAL ORDER
90
Date of
Composition Opus No. Title Dedicatee
1876 Valse Mignonne Gustaw Roguski

1 no.1 Prelude and Caprice Antoni Rutkowski
no.2 Minuet in G Minor Antoni Rutkowski
1878 Impromptu in F Major Rudolf Strobl
1879 2 no.1 Gavotte in E Minor Mme. Thérèse Wlassoff
no.2 Mélodie in C Major Mme. Thérèse Wlassoff
no.3 Valse Mélancolique in A Major Mme. Thérèse Wlassoff
Intermezzo in G Minor
Intermezzo in C Minor
1880 13 Sonata for Piano and Violin Pablo Sarasate
1882 Two Canons
8 Chants du Voyageur: Mme. Helena Gorska
1) Allegro agitato
2) Andantino melancolico
3) Andantino gracioso
4) Andantino mistico
5) Allegro giocoso
11 Variations and Fugue in A Minor
Eugène d’Albert
1884 3 Krakowiak
4 Elégie
5 Polish Dances: Paul de Schlözer
1) Krakowiak in E Major
2) Mazurek in C Minor
3) Krakowiak in B-flat Minor
Powódź – Piece for Piano
1884 9 Polish dances:

1) Krakowiak in F Major
2) Mazurek in A Minor
3) Mazurek in A Major
4) Mazurek in B-flat Major
5) Krakowiak in A Major
6) Polonaise in B Major
10 Album de Mai: Scènes Annette Essipov
Romantiques pour Piano:
1) Au Soir
2) Chant d’Amour
This listing was obtained from Adam Zamoyski. Paderewski. (New York: Atheneum, 1982),
９１
3) Scherzino
4) Barcarolle
5) Caprice
12 Album Tatrzańskie
14 Humoresque de Concert pour Piano:
I. A l’Antique: Menuet Annette Essipov
Sarabande Annette Essipov
Caprice Annette Essipov
II. A la Moderne: Burlesque Annette Essipov
Intermezzo Polacco
Annette Essipov
Cracovienne Fantastique
Alexander Michałowski
1885 6 Introduction et toccata Nathalie Janotha
1886 15 Dans le Désert: Tableau
Musical en Formes de Toccata Annette Essipov
1887 7 Four Songs to Words by Adam Asnyk:
1) Gdy Ostatnia Róźa Zwiędła
2) Siwy Koniu
3) Szumi Brzezina
4) Chłopca Mego Mi zabrali
1887 16 Miscellanea pour Piano:
1) Légende in A-flat Major Mme. Scheuere-Kästner
2) Mélodie in G-flat Major Princesse de Brancovan
3) Variations in A Major Mme. Aline Weber-
Schlumberger
4) Nocturne in B-flat Major Princesse de Brancovan
5) Légende in A Major Princesse de Brancovan
6) Moment Musical Princesse de Brancovan
7) Menuet in A Major Princesse de Brancovan
1888 17 Concerto for Piano and Orchestra in A Minor
Theodor Leschetitzky
1892 Moment Musical
18 Six Songs to Words by Adam Mickiewicz:
Władysław Mickiewicz
1) Polaly się łzy
2) Piosnka Dudarza
3) Moja Pieszczotka
4) Nad wodą wielką i czystą
5) Tylem wytrwał
6) Gdybym się zmienił
1893 19 Polish Fantasy on Original Themes for Piano and Orchestra
Princesse de Brancovan
1900 20 Manru - Opera
1903 21 Piano Sonata in E-flat Minor Archduke Charles
Stephen of Austria
９２
22 Twelve Songs to Poem by Catulle Mendès:
1) Dans la forêt
2) Ton Coeur est d’or pur
3) Le ciel est très bas
4) Naguere
5) Le Juene pâtre
6) Elle marche d’un pas distrait
7) La juene none
8) Viduité
9) Lune froide
10) Querelleuse
11) L’amour fatal
12) L’ennemie
23 Variations and Fugue in E-flat Minor

William Adlington
1907 24 Symphony in B Minor, “Polonia”
1917 Hej Orle Biały (Hey White Eagle)
９３
APPENDIX B
PADEREWSKI’S REPERTOIRE
94
J.S. Bach Chromatic Fantasy and Fugue
L.V. Beethoven Concerto in E-flat Major, Op.73
Sonata in C Major, Op.2, No.3
Sonata in E-flat Major, Op.27, No.1
Sonata in C-sharp Minor, Op.27, No.2, “Moonlight”
Sonata in D Major, Op.28
Sonata in D Minor, Op.31, No.2
Sonata in E-flat Major, Op.31, No.3
Sonata in C Major, Op.53, “Waldstein”
Sonata in F Major, Op.54
Sonata in F Minor, Op.57, “Appassionata”
Sonata in A Major, Op.101
Sonata in E Major, Op.109
Sonata in A-flat Major, Op.110
Sonata in C Minor, Op.111
Trio in B-flat Major, Op.97
32 Variations in C Minor
J. Brahms Capriccio
Hungarian Dances, Nos.1,6, and 7
Intermezzo
Piano Quartet in A Major, Op.26
Piano Quintet in F Minor, Op.34
Variations and Fugue, Op.24
Variations on a Theme of Paganini, Op.35
C. Chevillard Thème et Variations, Op.5
F. Chopin Concerto in E Minor
Concerto in F Minor
Four Ballades
Berceuse
Four Scherzos
Sonata in B Minor
Sonata in B-flat Minor
Etudes, Op.15 and Op.25
Polonaise Brillante, Op.3
Grand Polonaise Brillante, Op.22
Polonaises: E-flat Minor of Op.26; A Major of Op.40;
F-sharp Minor, Op.44; A-flat Major, Op.53
Polonaise- Fantasie
Fantaisie, Op.49
Impromptu in F-sharp major, Op.36
Funeral March in C Minor, Op.72
This listing was obtained from Adam Zamoyski. Paderewski. (New York: Atheneum, 1982),
９５
Preludes, Op.28
Nocturnes: Op.15, Nos. 1, 2; Op.27, No.2; Op.32, No.1;
Op.37, Nos.1, 2; Op.48, No.1; Op.62, Nos.1, 2
Mazurkas: Op.17, No.3; Op.24, No.4; Op.33, No.4; Op.50, No.1;
Op.56, No.1; Op.56, No.2; Op. 59, Nos. 2, 3
Grande Valse Brillante, Op.18
Waltzes: Op.34, Nos. 1, 2; Op.42; Op.64, Nos. 1, 2
F. Couperin La Bandoline
Le Carillon de Cythère
F. Cowen Concertstück
L.C. Daquin Le Coucou
C. Debussy Reflets dans l’eau
Preludes: Danseuses de Delphes, Minstrels,
Le Vent dans la Plaine, Voiles
L.Delebes Rigaudon
L. Diemer Troisième Orientale
A.V. Duvernoy Intermedium
G. Fauré Barcarolle
Romance sans Paroles
J. Field Selections of Nocturnes
A.W. Foote Caprice
B. Godard Polonaise
W. Gorski Berceuse
E. Granados Valses Poeticos
E. Grieg Concerto in A Minor Op.16
G.F. Handel Harmonious Blacksmith
Suite in D Minor
J. Haydn Variations in F Minor
A. Henselt Etude
C. Johnss Valse
E. Lalo Sérénade
T. Leschetitzky Canzonetta Toscana
Mazurka
Menuetto Capriccioso
Tarantella
F. Liszt Concerto in E-flat Major
Sonata in B-flat Minor
Don Juan Fantasy
Polonaise in E Major
Spanish Rhapsody
Hungarian Rhapsodies
Etudes de Concert
Etude Ricordanza
Valse Impromptu
Waldesrauschen
Transcription of:
９６
Bach’s Fantasia and Fugue in A Minor
Fantasia and Fugue in G Minor
Prelude and Fugue in A Minor
Chopin’s Six Polish Songs
Mendelssohn’s Dance of the Elves
Wedding March
Paganini’s Campanella
Schubert’s Au Bord d’une Source
Divertissement à l’Hongroise
Erlkönig
Hungarian March
Hark, Hark, the Lark
Soiree de Viénne
Wagner’s Spinning Song
H.C. Litolff Scherzo
D.G. Mason Caprice
F. Mendelssohn Songs without Words
Prelude and Fugue in E Minor
Variation Sérieuses, Op.54
G.P. Moore Etude Pathétique
M. Moszkowski Barcarolle
W. A. Mozart Rondo in A Minor
Sonata in A Major
Z. Noskowski Krakowiak
A. Périlhou Fantasia
Fugue
G. Pierné Sérénade à Colombine
J.J. Raff Suite, Op.210
Valse Impromptu
A. Ries Romance
A. Rubinstein Barcarolle in A Minor, Op.93
Concertstück
Piano Concerto in D Minor, Op.70
Trio in B Major
Barcarolle in A Minor, Op.93
Barcarolle in F Minor, Op.30
Prelude in A Minor
Romance
Etude
Mazurka in D Major
Valse caprice, Op.118
A. Rutkowski Polonaise
C. Saint-Saëns Concerto in A Minor, Op.44
Polonaise for Two Pianos
Romance
D. Scarlatti Sonata
９７
Capriccio
Pastorale
E. Schelling Concerto No.2
Nocturne
F. Schubert Impromptus
Moments Musicaux
Variations
Trio, Op.99
March
Menuet
R. Schumann Piano Concerto
Sonata in F-sharp Minor
Carnaval
Fantasia in C Major
Etudes Symphoniques
Fantasiestücke
Papillons
Etudes sur Paganini, Op.3, 10
Nachtstücke
Toccata in C Major
Waldszenen, Op.82
A. Scriabin Preludes
G. Sgambati Gavotte, Op.9
Z. Stojowski Chant d’Amour
Serenade
K. Szymanowski Etudes
Prelude and Fugue
C. Tausig Valse Caprice after Johann Strauss
F. Thomé Chanson du Rouet
C. M. von Weber Sonata
Momento Capriccioso, Op.12
C. M. Widor Zanetto
H. Wieniawski Mazurka
A. Zarzycki Valse
W. Żeleński Sonata for Violin and Piano
９８
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_____, Record Jacket Notes for Paderewski, Ignacy Jan. Piano Works Vol. 2: Variations and
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______, vol.74. Ignacy Paderewski, piano. Philips, 456919-2, 1998.
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8.554020, 2000.
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______. Piano Works Vol.1: Piano Sonata Op.13, Miscellanea Op.16, Tatra Album Op.12.
Adam Wodnicki, piano. Altarus, CD 9045, 1997.
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１０４
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１０５

G-Sharp Minor For Piano and Orchestra Opus 19

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What is the purpose of the study?

What is the purpose of the study?

What folk music elements are examined?

What folk music elements are examined?

THE USE OF THE POLISH FOLK MUSIC ELEMENTS AND THE FANTASY

ELEMENTS IN THE POLISH FANTASY ON ORIGINAL THEMES IN

G-SHARP MINOR FOR PIANO AND ORCHESTRA OPUS 19

BY IGNACY JAN PADEREWSKI

Yun Jung Choi, B.A., M.M.

Dissertation Prepared for the Degree of

DOCTOR OF MUSICAL ARTS

UNIVERSITY OF NORTH TEXAS

Adam Wodnicki, Major Professor

2007, 105 pp., 5 tables, 65 examples, references, 97 titles.

those traditions when approaching the work in a concert setting.

Chapter 1 provides biographical and factographical information about Paderewski as a

folk music elements.

summary and conclusion of the study.

Yun Jung Choi

II. POLISH FOLK DANCES .................................................................................8

III. COMPOSITIONAL TECHNIQUES IN POLISH FANTASY, OP. 19 ............28

A. LIST OF WORKS IN CHRONOLOGICAL ORDER ....................................90

B. PADEREWSKI’S REPERTOIRE ...................................................................94

1. Formal diagram of Paderewski, Polish Fantasy, Op.19, section 1..............................40

2. Formal diagram of Paderewski, Polish Fantasy, Op.19, section 2..............................41

3. Formal diagram of Paderewski, Polish Fantasy, Op.19, section 3..............................41

4. Formal diagram of Paderewski, Polish Fantasy, Op.19, section 4..............................42

5. Formal diagram of Paderewski, Polish Fantasy, Op.19, coda.....................................42

4. Kujawiak from Kujawy, IV. no.102, collected by Kolberg .........................................13

5. Kujawiak from Kujawy, IV. no.67, collected by Kolberg ...........................................13

6. Kujawiak from Kujawy, IV. no.170, collected by Kolberg .........................................14

7. (a) Chopin, Mazurka Op.68, No.2 in A Minor, mm.1-4 ..............................................15

(b) Chopin, Mazurka Op.68, No.2 in A Minor, mm.29-33 ..........................................15

8. Chopin, Mazurka Op.24, No.1 in G Minor, mm.1-5 ...................................................15

9. Typical rhythm of the mazur........................................................................................16

14. Chopin, Mazurka Op.6, No.3 in E- flat Minor, mm.1-6 ..............................................17

15. Mazur: Paderewski, Dances Polonaises Op.9, No.3 Mazurek, mm.1-10....................18

16. Chopin, Mazurka Op.24, No.4 in B-flat Minor, mm.1-12 ...........................................18

18. Oberek: Chopin, Mazurka Op.50, No.1 in G Major, mm.1-6 .....................................20

19. Oberek: Paderewski, Polish Fantasy, Op.19, mm.279-292.........................................21

24. (a) Chopin, Polonaise-Fantasie in A-flat Minor, Op.61, mm.1-7 ...............................25

(b) Chopin, Polonaise-Fantasie in A- flat Minor, Op.61, mm.20-31 ..........................26

25. (a) Chopin, Fantasia on Polish Airs, Op.13, mm.55-64..............................................27

(b) Chopin, Fantasia on Polish Airs, Op.13, mm.20-31..............................................27

26. Main theme 1: Paderewski, Polish Fantasy, Op.19, mm.43-51 ..................................44

27. Subsidiary theme 1: Paderewski, Polish Fantasy, Op.19, mm.25-34 .........................45

28. Subsidiary theme 2: Paderewski, Polish Fantasy, Op.19, mm.115-143 .....................47

30. Main theme 2: Paderewki, Polish Fantasy, Op.19, mm.240-269................................50

31. Main theme 2: Paderewki, Polish Fantasy, Op.19, mm.279-297................................51

34. Material ‘b¹’ : Paderewki, Polish Fantasy, Op.19, mm. 609-614................................54

35. Material ‘a²’: Paderewki, Polish Fantasy, Op.19, mm. 539-546.................................55

36. Material ‘c¹’: Paderewki, Polish Fantasy, Op.19, mm. 577-589.................................56

37. Material ‘d’: Paderewki, Polish Fantasy, Op.19, mm. 648-657..................................57

38. Cadenza: Paderewki, Polish Fantasy, mm. 962-990 ...................................................60

39. Opening Cadenza: Paderewki, Polish Fantasy, mm. 7-11 ..........................................61

(b) Main theme 1: Paderewski, Polish Fantasy, Op.19, mm.180-186.........................69

(c) Main theme 1: Paderewski, Polish Fantasy, Op.19, mm. 425-429........................69

(d) Main theme 1: Paderewski, Polish Fantasy, Op.19, mm. 1021-1025....................70

45. (a) Main theme 2: Paderewski, Polish Fantasy, Op.19, mm.279-292.........................70