8/16/2019 Chopin Schenker

1/10

Schenker's Performance of Chopin's Preludes and the Meanings of InterruptionAlan Dodson (University of British Columbia) AMS/SMT Milwaukee, 8 Nov 2014

Example 1. Schenker's harmonic analysis of Chopin, Prelude in B Minor, op. 28/6 (from )Harmony 

8/16/2019 Chopin Schenker

2/10

Example 2. Schenker's annotated score of Chopin, Prelude No. 6 in B minor

(from the Jonas Collection)

2

8/16/2019 Chopin Schenker

3/10

Example 4. Further annotations for "intertwined playing" ( ) in

Chopin's Preludes

Ineinanderspielen

(a) No. 17 in A major, theme: acceleration in m. 10

Example 3. Excerpt from an analytical sketch of Chopin, Prelude No. 6 in B minor

(from the Oster Collection)

3

8/16/2019 Chopin Schenker

4/10

Example 4 (continued).

(b) No. 4 in E minor: "Auftakt!" in m. 12

(c) No. 3 in G major: acceleration in m. 11 (with dotted lines for voice leading)

4

8/16/2019 Chopin Schenker

5/10

Example 5. Three excerpts from an analysis by Angelika Elias of Chopin's B-minor Prelude

(from the Oster Collection)

(a)

(b)

(c)

5

8/16/2019 Chopin Schenker

6/10

Example 6. Headings from two early drafts of the chapter on interruption in

(adapted from Marston 2013)Free Composition

6

loosening (Auflockerung) of the Urlinie-Zug through interruption

interruption in the case of 3

[interruption in the case of 5]

[interruption in the case of 8?]

^

^

^

: 3- 3-2-1

the turning back to 3 does not mean a cadence

half cadence? divider? partial arpeggiation ( )?with the first stand of 2, the voice leading breaks off 

the first 2 is not a neighbor note

interruption as the root of form

interruption or neighbor note?

at the first level, only the interruption from 5-2 5-1 is a possibility

5-2 is a 4-Zug

the turning back to 5 does not mean a cadence

5-2 5-1 as the root of form in the foreground

impossibility of an interruption in the case of 8-1

8-5 5-1 as the root of form in the foreground

^ 2̂ ^ ^ ^

^

^

^

^ ^ ^ ^ ^

^ ^

^

^ ^ ^ ^

^ ^

^ ^ ^ ^

Teilbrechung

8/16/2019 Chopin Schenker

7/10

Example 7. Schenker's annotated score of Chopin, Prelude No. 1 in C major

7

8/16/2019 Chopin Schenker

8/10

Example 8. Three excerpts from an analysis by Schenker of Chopin's C-major Prelude

(from the Oster Collection)

(a)

(b)

(c)

8

8/16/2019 Chopin Schenker

9/10

Example 9. Analytical sketch by Schenker of Chopin, Prelude No. 10 in C-sharp minor

(from the Oster Collection)

Example 10. Schenker's annotated score of Chopin, Prelude No. 10 in C-sharp minor

9

8/16/2019 Chopin Schenker

10/10

Example 11. The retained tone in the case of a period (from , vol. 2)The Masterwork in Music

(a) (b)

Example 12. Ursatz and first level from , No. 5: Chopin, Etude

in C minor, op. 10/12 (adapted to fit onto one page)

Five Graphic Music Analyses

Example 13. Alternative reading of Chopin, Etude in C minor, op. 10/12, doubling as an analysis

of the Mazurka in C minor, op. 30/1 (from the Oster Collection)

Example 14. Schenker's "precise view of the constant control that the Ursatz exerts" over

the interruption in the case of 3 ( , Supplement, Fig. 21b)^   Free Composition

10