|| Character pieces prevailed in the 19th century. Chopin was one of the most important composers during the period. Preludes Opus 28 of Chopin is characteristic of 19th century style. This thesis is concentrated on the historical background, the composition techniques, and the interpretation of Frédéric Chopin’s Preludes Op. 28. Other then introduction, this thesis is divided into four chapters and an appendix. The first chapter tries to make a survey of the historical background of preludes, including the definition and the development, then the historical background of F. Chopin Preludes, Op. 28. The second chapter discusses the composition techniques and musical styles. The third chapter goes into the performance practice. The fourth chapter sums up the results of the study. |
Preludes originated from the unattached prelude of the 16th century, then evolved into the Baroque period which the main type in this period was the attached prelude. The type of independent prelude was lately established in the Romantic era. Chopin worked on these 24 preludes sporadically between 1836 and 1839. Each piece varies in length, texture and style. Chopin used varied composition techniques within them. The tonal plan pairs each major key with its relative minor key through the circle of fifths. The style of preludes can categorize into etude, nocturne, mazurka, funeral march, scherzo, perpetuum mobile, songlike, fantasy, and impromptu etc. The performance practice issues such as dynamics, ornamentation, phrasing, pedal, and tempo rubato are discussed. The opinions of scholars, such as T. Higgins, J. Eigeldinger and J. P. Dunn, are represented to help appropriate interpretation. To sum up, Chopin established the prelude as an independent character piece, he also influenced composers of late Romantic era and early 20th century. Therefore, the important contribution of Chopin to the development of preludes is not replaceable.