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Author

Francesca Calciolari
Title
Genesis of Fryderyk Chopins Sonata op. 65 for Cello and Piano
University
Universit degli Studi di Siena
Supervisor
Prof. Fabrizio Della Seta
Co-examiner
Prof. Talia Pecker Berio
Thesis
Degree Thesis
Date of start and finish
January 1999 - March 2000
Abstract
This study represents an attempt at reconstructing the Chopins creative process in the Sonata op. 65
for cello and piano composed between 1845 and 1847 and dedicated to the cellist Auguste
Franchomme.
The set of preparatory sketches and the Franchommes
autographical copy of the cello part are the fundamental sources in
this research and constitute a considerable corpus of manuscripts
among the Chopinian autographical sources still available.
A representation of Chopins personal composing method and
a reconstruction of the genesis of the history of the Sonata precede
the description and the analysis of the autographical sources.
The set of sketches is various: effective sketches, continuative
drafts and a first fair copy. The description and the classification of
each sheet let to reconstruct different chronological phases during
drafting, identifying an hypothetical Chopins working method. The
analysis of some particular sketches sheets permitted to recognize
teh most problematic and the main hesitational phases of the
composer during drafting.

Chopin

adopted

different

creative

attitude

for

each

movement trying to highlight and to increase teh structure and the


expressive potentialities of each from a tonal and from a stylistic
point of view.
An interesting fact is the sureness which Chopin reveals
during drafting in associate the melodic line of cello to the line of
piano realizing a contrapuntal writing well distributed and yet
correspondent to the version of the first edition.
The comparison between the autographical sources and the
version of the first edition let to individuate a new element in
Chopins habits in composing. The content of the first fair copy
identified among the set of sketches corresponds to the one of the
Franchommes copy but doesnt correspond at all to the one of the
first edition: it would be possible that Chopin realized the first fair
copy just for a practical end, to play the Sonata with Franchomme
during drafting. Chopin was used to realize just one fair copy to give
it to an editor or to a copyst before edition: with the Sonata for cello
he modified his own habits creating another fair copy just for himself
revealing his need to reheare the Sonata with the cellist. He wasnt
used to write for two instruments and maybe he felt this need more
in this composition.
The studies of the Chopins creative process are exiguous: this
research poses itself as a contribution to the development of them
expecially from a critical and analytical point of view.
Key words
Chopin, creative process, working method, sketches - drafts,
autograph, fair copy, sonata, cello and piano, Franchomme
INDEX
Introduction
Chopins creative process

Studies about Chopins creative process

Personal composing method

Chopin and the copysts

Chopin and the editors

Chopins manuscripts

The Sonata op. 65

Genesis of the Sonata op. 65

The set of sketches

Autographical sources

The Chopins creative process in the Sonata op. 65

Autographical sources: description

Allegro moderato

Formal structure

Systematic an chronological description of sketches sheets

Main creative problems in the first movement

Scherzo

Formal structure

Systematic an chronological description of sketches sheets

Main creative problems in the second movement

Largo

Systematic an chronological description of sketches sheets

Main creative problems in the third movement

Finale

Formal structure

Systematic and chronological description of sketches sheets

Main creative problems in the fourth movement

Bibliography
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