Product Description
This sheet music was newly engraved from early and authoritative editions. ... Read more

Product Description
This sheet music was newly engraved from early and authoritative editions. ... Read more

Product Description
This sheet music was newly engraved from early and authoritative editions. ... Read more

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Presents two collections of tranquil music. ... Read more

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Sparkling, graceful and tinged with an ineffable melancholy, Chopin’s waltzes succeed in conveying an air of mystery while retaining their ballroom splendor. His scherzos are truly novel metamorphoses of the form—tumultuous emotional outpourings that frequently attain tragic heights. Prepared by Carl Mikuli, Chopin’s student and teaching assistant, this edition of these innovative works is particularly authoritative, reflecting Mikuli’s knowledge and understanding of Chopin’s music. This volume includes: Waltzes Op. 18 Op. 70, Nos. 1–3 Op. 34, Nos. 1–3 E Minor, (Op. posth.) Op. 42 E Major (Op. posth.) Op. 64, Nos. 1–3 Op. 69, Nos. 1–2 Scherzos Opp. 20, 31, 39, 54 Republication of works from an authoritative early edition. New unified table of contents.
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Customer Reviews (7)

Great pieces in an easy to read format
Everything about this edition is great. It's easy to read, etc.
The only negative thing I would say about this is that sometimes the editing gets a little cumbersome (fingering and pedaling recommendations). And it is never addressed whether the markings are one's the composer wrote, or if they are mere suggestions.
Overall, it's great, though!

Beware NOT PADEREWSKI edition! False advertising.
Beware!!! This is not the Paderewski edition, I just received this book. I heard Dover no long print the Chopin Paderewski edition. The new book will not be the Paderewski edition. It is a big difference, look carefully at the book,the cover does not indicate Paderewski. Don't be mislead by the false title description of this product.

This is NOT Paderewski edition
Don't waste money thinking this is Paderewski edition.
If this can be any edition, can be a good deal, but if you need Paderewski edition, this is not. I am not sure amazon understand the difference.

Review
The newer version of this books is no longer a reprint from Paderewski Edition.It is now a reprint from Schirmer Edition.The Editor is Carl Mikuli.Not Bronarski or Turczynski.Also, if you buy the newest version, it comes in 'Lay Flat Sewn-Binding', which is Dover's improved version.The older version used to fall apart.Some sellers still sell the older version at lower price.The actual price for this new and improved version is $12.95

Excellent Edition
Notes are easy to read, format is well laid out, all the waltzes and scherzi from a major romantic composer, and at a very reasonable price.What more could a music lover or pianist ask for?Highly recommended! ... Read more

Product Description
Chopin's E minor and F minor Piano Concertos played a vital role in his career as a composer-pianist. This Handbook reevaluates them so that their many outstanding qualities can be fully appreciated. It describes their genesis, Chopin's own performances and his use of them as a teacher. A survey of their critical, editorial and performance histories follows, in preparation for an engaging narrative analysis of the concertos as embodied in sound. The final chapter investigates Chopin's enigmatic "third concerto", the Allegro de concert. ... Read more

Customer Reviews (1)

Setting the records straight
Renowned Polish composer Frédéric François Chopin (1810-1849) composed an amazing variety of compositions including some 50 mazurkas, 25 preludes, 24 etudes, 21 nocturnes, 17 waltzes, 11 polonaises, 4 ballades and 3 sonatas. Chopin's E minor and F minor Piano Concertos, however, are particularlyimportant as they played a vital role in his career as a composer-pianist.Chopin: The Piano Concertos, written by Chopin expert John Rink - recipientof a Ph.D. from Cambridge University for his thesis The Evolution ofChopin's `Structural Style' and its Relation to Improvisation in May, 1989- provides an engaging, comprehensive analysis of these concertos as wellas providing vital information about the environment in which theseConcertos were composed and how they were received. The author'smultifaceted exploration of these concertos successfully provides thereader with a sound understanding of Chopin's Piano Concertos as well asoffering a deeper appreciation for his work and his genius. As well asincluding Chopin's E minor and F minor Piano Concertos, the book iscomplete with an in-depth analysis of Chopin's enigmatic `third concerto',the Allegro de concert.

Before going into Chopin's Piano Concertos,the author sets the tone for the book by noting that "Chopin's pianoconcertos have enjoyed enormous popularity ever since their composition ...but they have also suffered some of the harshest scholarly criticisminflicted on his works". He rebuttals with, "... when viewed as music to beperformed rather than scores to be dissected on paper, they belong to[Chopin's] most successful creations". He offers this book as "[an attempt]to set the record straight, re-evaluating the concertos against the earlynineteenth-century traditions that shaped them so that their manyoutstanding qualities can be better appreciated."

In his firstchapter, appropriately titled "Creation", the author explains the greatsignificance of the Piano Concertos to Chopin's evolution as a musician. Hedescribes the creation of Chopin's F minor Concerto, Chopin's newly foundcommitment to a virtuoso career, the creation of the E minor Concerto, andoffers a brief introductory analysis of the parallels between these twoconcertos. He goes on to describe the first performances, first reviews andfirst editions of these concertos, explaining the general acceptance ofChopin as a genius in the musical community, yet also the criticism Chopinfaced introducing a creativity that was often mistaken as a weakness. Thechapter continues with an overview of the publication of these concertosand concludes with an insightful section titled "Chopin as teacher",outlining Chopin's teaching practices and depicting a connection betweenthe glosses in scores used by Chopin's pupils and associates and Chopin'sown playing and teaching styles.

Before reevaluating the concertos,the author provides a chapter titled "Interpretation", summarizing Chopin'sincredibly diverse reception over the past 150 years and providing aninclusive summary of reactions from noted critics, composers, editors andperformers. These reactions include, among others, those of critics LudwigRellstab, Gottfried Fink, J. W. Davidson, and those of composers Schumannand Liszt. An analysis of Frederick Nieck's influential biography of Chopin- the first scholarly monograph on Chopin - and its impact on society andinfluence on future authors assessing the concertos is also included. Theauthor continues with a description of the trials and tribulations in themusical scores of these concertos, explaining the evolution of the scoresfrom first edition to later versions, collected editions, editions withsecond-piano accompaniment, full scores, transcriptions and arrangementsand finally re-orchestrations. The chapter concludes with a discussiontitled "Performers", a very interesting and informative section consideringChopin's first two concertos are available on over seventy recordings each,performed by most concert pianists throughout the twentieth century. Theauthor describes an appeal from several of Chopin's former students - Lenz,Mikuli and Princess Marcelina Czartoryska - that Chopin's concertos hadbeen misinterpreted, and goes on to further debate the interpretations ofChopin's music.

Having successfully prepared the readers, authorJohn Rink goes on to offer his own re-evaluation of the two concertos.Beginning my explaining the principles and premises by which music isevaluated, he describes his narrative approach in the analyticalre-evaluation of Chopin's concertos:

"I shall first define eachmovement's skeletal structure, identifying important `stabilizing' featuressuch as tonal scheme and sectional form, and then in tracing through themusic I shall observe temporally defined processes like the generation andrelaxation of momentum, rhythmic flux, and small- and large-scale gesturalimpulse, all of which help to transform the structural bedrock into aliving musical statement."

He goes on to do just that, providing 17 pagesof analysis on Chopin's Opus 21 and a subsequent 22 pages of analysis onOpus 11. He cautions that "words can never fully capture musicalexperience: its temporal course and emotional impact ultimately lie beyondthe powers of verbal description" and continues by stating that "theforegoing analytical re-evaluation is in one sense another futile attemptto encapsulate the concertos in words, but at least it has been undertakenin a spirit of appreciation, not denigration. If nothing else, it hasrevealed the utter hollowness of Nieck's criticisms and those of hissuccessors".

Finally, the fifth and final chapter "Chopin's thirdconcerto" explores Chopin's third concerto, the Allegro de concert... Unlike the other two concertos, theauthor concludes that the current evaluation of this concerto is quite fairand states:

"it may be a legitimate interpretation, sure to be supersededin due course, but for the time being enlightening some aspect of themusic's elusive meaning while leaving space for fresh evaluations tocome."

The nature of this book is somewhat complex, however this bookappeals not only to the music scholar but also to the music enthusiast. Thecomprehensive, informative and engaging nature of the book alone issufficient to give it purpose, however, the heart of this book really liesin the re-evaluation of Chopin's first two concertos. John Rink set out toset the records straight, and succeeded to do so in an analytic andobjective manor. As a devoted admirer of Chopin's work myself, havinglistened to Chopin everyday during the entire 9 month term before my birthand having learned to play his pieces since the age of 3, I find deepemotion, passion and genius in Chopin's work. However, to write a book suchas this one takes a vast scholastic understanding of music and Chopin inparticular, and John Rink is certainly qualified to do so. Previously I had little knowledge of these concertos, however I'm sure that even if I had, Iwould still have found this book to be very valuable, as I'm sure manyothers have and will. It is a valuable and much needed contribution to thestudy of Chopin. ... Read more

Product Description
Edited by Chopin’s student and teaching assistant Carl Mikuli, this edition includes highly authoritative versions of these favorite pieces: Ballades—No. 1 in G Minor, Op. 23; No. 2 in F Major, Op. 38; No. 3 in A-flat Major, Op. 47; No. 4 in F Minor, Op. 52 Impromptus—No. 1 in A-flat Major, Op. 29; No. 2 in F-sharp Major, Op. 36; No. 3 in G-flat Major, Op. 51; No. 4 in C-sharp Minor, Op. 66 (Fantaisie-Impromptu) Sonatas—No. 1 in C Minor, Op. 4; No. 2 in B-flat Minor, Op. 35; No. 3 in B Minor, Op. 58 New compilation of scores originally published by G. Schirmer, New York, 1894–1895.
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Customer Reviews (6)

Good buy
It has everything that it says it has, I made the mistake of thinking that I could play any of it. The Impromptus are very tricky, as with the ballades. The easiest piece in the book is Fantasie Impromptu and that is not an easy piece at all. The sonatas are the hardest to play with strange rythms and fluctuations that are unexpected.

Good collection, good price.
This collection is well-offered. However there are a few things you should be wont to know:

First off, the pages are scripture-thin. I prefer a heavier page.

More importantly, the editor often mixes the right and left hand cleffs. what I mean is, the editor places the right hand and left hand on the same cleff when it is convenient for him. I however, find this more difficult to sight read because you can't tell where one hand's chord ends and the others begins. It's like the laziest kind of writing.

Also the printing is not perfectly sharp (but it is acceptable).
So there are probably better (clearer) editions if that's what you're looking for. I would buy this again for its price, however.

Excellent score, excellent price
I have not found a less expensive score than Dover. The book is sturdy and the pages are bound tightly. I put my scores through much use, and none of the pages have ever fallen out of the Dover editions. One thing to note about this score is that it's edited by Mikuli, one of Chopin's pupils; the older Dover publications of this book had edits by Paderewski, which I actually prefer over Mikuli. However, the fingerings are only minor issues.

Sturdy, clear, beautiful, well loved
I've had this book for several years, and have marked it up, dog-eared it, spilled coffee on many pages, and otherwise treated it with familiar reverence. It has become a great friend.

The type-setting is crystal-clear. The edition notes are instructive.The pages never fall out, even if you crease the spine to keep the book flat against the piano stand.

Then, of course, there's the glorious music itself. So much magnificent music in one volume.Perhaps we should even see this as one of the Great Books of the Western World.

Great book
I'm a pianist/piano teacher. I choose this edition for teaching my students. This is a complete book at lower price. The book is durable. Pages don't come out easily. ... Read more

Product Description
This classic in music biography and criticism reflects the intimate, thorough knowledge of Chopin’s music Huneker acquired while studying to be a concert pianist and his unusually keen insight into the character of the composer. Part One deals with Chopin’s life; the second offers brilliant piece-by-piece analysis of the entire body of his music. Introduction and notes.
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Customer Reviews (8)

NOT THE GREATEST BIOGRAPHY, BUT STILL WELL WORTH READING
Strangely, no one seems to have writen a definitive biography of Frederic Chopin (1810-1849), despite the fact that he was one of the most important composers of the 19th century Romantic era.(Tad Szulc's book, Chopin In Paris: The Life And Times Of The Romantic Composer, is perhaps the best existing biography, in addition to Jim Samson's Chopin (Master Musicians Series) and Jeremy Siepmann's Chopin: The Reluctant Romantic; Chopin's friend Franz Liszt also wrote a "SORT OF" biography of him Life of Chopin (Forgotten Books).)Consequently, I would suggest that this book by American music newspaper writer and critic James Gibbon Huneker should not be expected to be more than it is.

Huneker offers many interesting observations on Chopin's life and personality: "For the dissipations of the 'average sensual man,' he had an abiding contempt.""Chopin loved the night and its soft mysteries..."Chopin "did not care much for German music except Bach and Mozart.Beethoven ... was not sympathetic.Schubert he found rough, Weber, in his piano music, too operatic and Schumann he dismissed without a word."With regard to Chopin's famous development of the rubato style of playing, Huneker writes, "The Chopin rubato is rhythm liberated from its scholastic bonds, but it does not mean anarchy, disorder."

Concerning Chopin's fateful meeting of author George Sand, "Sand was antipathetic to Chopin but her technique for overcoming masculine coyness was as remarkable in its particular fashion as Chopin's proficiency at the keyboard."Her ardor for Chopin cooled as he became ill: "for an active mind and body like hers, it must have been irksome to submit to the caprices of a moody, ailing man."In his final days, Chopin "begged his sister to burn all his inferior compositions. 'I owe it to the public and to myself to publish only good things.'"Huneker notes that "This wish has not been respected.The posthumous publications are for the most part feeble stuff."

Huneker concludes that "Chopin is the open door in music.Besides having been a poet and giving vibratory expression to the concrete, he was something else---he was a pioneer."

This isn't THE biography or study of Chopin to purchase; but for lovers of Chopin and his music, it should be read.

NOT a waste of time for those who understand Huneker's love of Chopin
Au contraire to the negative reviewers. This book is the tour de force on the music of Chopin, expressed in the most descriptive and vibrant language imaginable. It was written in the late 19th Century by a man who enthusiastically explored every nook and cranny of Chopin's genius.

The book is meant primarily as an overview and examination of Chopin's music for pianists and lovers of Chopin,written by a man who was a respected music critic and pianist himself. It's full of information on how the great pianists of the time performed Chopin and invaluable as a fascinating read and historical document. The book was never intended as a dry encyclopedic biography of the composer, and much has been discovered about Chopin's life in the last 100 years that can be found in other biographical sources. Those who expect Huneker to be literallycorrect in every respect on Chopin's life are badly missing the point of this fascinating examination of Chopin's life and music. Huneker adored Chopin, and his writing brims with passion, enthusiasm and incredible insight into each piece Chopin produced, though his words were never intended for the piano pedagogues only.

Anyone who deeply loves Chopin will find this a unique and wonderful read. I have marked many passages, referred to it countless times, and there is nothing like reading Huneker's descriptions of a Chopin work while you are actually listening to it performed at the same time. Huneker's language simply reflects the florid language of his age and is truly fantastic in its descriptive detail.

Zero stars on the misguided negative reviews on the book; and 5 stars on behalf of Huneker's little Chopin classic that has been in print for over 100 years. This is a book to be savored, and there are no other writings on Chopin that can match the boundless enthusiasm that Huneker felt for his musical god. Each page brims with Huneker's exuberant spirit and his fervent love of music itself. A treasure from another age.

Almost a Waste of Time
The biography is very disappointing, the musical descriptions are poetic but don't get into much detail.If you want a general feel for Chopin's music but don't want intricate musical detail, the descriptions of the pieces may suit your need. That's the only reason I didn't give this book the lowest possible rating.

For biographical info, "Chopin in Paris" by Tad Szulc is much more informative and accurate.Huneker's biography, besides being relatively short, takes off on gossipy tangents that often jump around in time making it hard to get a good feeling for Chopin's progression thru life.

My problem with the musical descriptions (the book is divided into 76 pages of biography and 141 pages of music "analysis", divided into sections on preludes, mazurkas, etc.) is again the gossipy nature. For example, the chapter on the preludes is 13 pages long. The first four pages are strictly about who claimed when and where they were written.

I recently played Prelude No. 4 in E Minor at Peabody in Baltimore. Prior to the recital, I was deluged with coaching at college master-class play-ins, etc. The discussions centered on things like why the downbeat beginning each measure is played weaker than usual, contributing to the feeling of hopelessness in the piece.

Huneker's descriptions are: "The melody seems literally to wail..", "This tiny prelude contains wonderful music", "The whole is like some canvas by Rembrant.."

In the relatively few times Huneker does go into musical detail there may be some insight, but just as frequently a few bars of music are shown accompanied by an explanation like, "Volcanic mutterings these!" -when the music shown is a pianissimo (played very softly) passage!

For anyone looking for insights on actually playing the pieces, Walker's "The Chopin Companion.." which can be found "used" at Amazon, is a much better choice.

Fundamental essay to take into account!
James Huneker made an praised essay around the different stages of Chopin's life as well an extensive, meticulous and detailed analysis about every one of his compositions. The way he analyzes and even collates this Polish composer reveals not only a deep engagement but besides a remarkable description supported by a poetic trait that stimulates still more the necessary reading.


If you are engaged with Chopin's micro cosmos, go for this notable essay.

Entertaining, but only mildly informative
This book (originally published in 1900) is split in two sections. In the first 100 pages, the life of Chopin is discussed by Huneker in a very colorful and poetic style, although unfortunately very few biographical facts are revealed. When I finished this section I felt I had hardly learned anything new about Chopin.

The next 150 pages deal with Chopin's music, in which Huneker comments briefly on every one of Chopin's compositions (with the exception of several pieces unknown to Huneker), categorized by type (Ballades, Preludes, etc.). This section, like the first, is amusing but not very helpful. The author never really goes into great depth about any single piece. Instead he simply says a word or two on mood or style, often quoting authorities such as Kullak and Niecks, and compares several major editions of the work. I would recommend this to someone very interested in editorial details... anyone else could probably do without most of this section.

People familiar with Chopin should find Huneker's writing somewhat enlightening, though far from substantial. Those looking for an introduction to Chopin may find the first section very helpful, if they can tolerate the author's verbosity. ... Read more

Product Description
This sheet music was newly engraved from early and authoritative editions. ... Read more

Product Description

This multidisciplinary collection addresses Chopin's life and oeuvre in various cultural contexts of his era. Fourteen original essays by internationally-known scholars suggest new connections between his compositions and the intellectual, literary, artistic, and musical environs of Warsaw and Paris. Individual essays consider representations of Chopin in the visual arts; reception in the United States and in Poland; analytical aspects of the mazurkas and waltzes; and political, literary, and gender aspects of Chopin's music and legacy. Several senior scholars represent the fields of American, Western European, and Polish history; Slavic literature; musicology; music theory; and art history.

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IMPROMPTUS FOR PIANO ... Read more

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This sparkling collection contains 46 pieces: Ballade No. 1 in G Minor, Berceuse, 3 ecossaises, 5 etudes, Fantaisie-Impromptu, Marche Funèbre from Sonata No. 2, 8 mazurkas, 7 nocturnes, 3 polonaises (including the enormously popular "Militaire"), 9 preludes, Scherzo No. 2 in B-flat Minor, and 6 waltzes (including the "Minute Waltz"). Authoritative sources.
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Product Description
Music in Chopin's Warsaw examines the rich musical environment of Fryderyk Chopin's youth--largely unknown to the English-speaking world--and places Chopin's early works in the context of this milieu.Halina Goldberg provides a historiographic perspective that allows a new and better understanding of Poland's cultural and musical circumstances. Chopin's Warsaw emerges as a vibrant European city that was home to an opera house, various smaller theaters, one of the earliest modern conservatories in Europe, several societies which organized concerts, musically active churches, spirited salon life, music publishers and bookstores, instrument builders, and for a short time even a weekly paper devoted to music.

Warsaw was aware of and in tune with the most recent European styles and fashions in music, but it was also the cradle of a vernacular musical language that was initiated by the generation of Polish composers before Chopin and which found its full realization in his work. Significantly, this period of cultural revival in the Polish capital coincided with the duration of Chopin's stay there--from his infancy in 1810 to his final departure from his homeland in 1830.An uncanny convergence of political, economic, social, and cultural circumstances generated the dynamic musical, artistic, and intellectual environment that nurtured the developing genius.Had Chopin been born a decade earlier or a decade later, Goldberg argues, the capital--devastated by warfare and stripped of all cultural institutions--could not have provided support for his talent.The young composer would have been compelled to seek musical education abroad and thus would have been deprived of the specifically Polish experience so central to his musical style.

A rigorously-researched and fascinating look at the Warsaw in which Chopin grew up, this book will appeal to students and scholars of nineteenth century music, as well as music lovers and performers. ... Read more

Customer Reviews (1)

Essential reading
Chopin is a mythical figure. His myth has two components: his genius as both pianist and composer, and his status as a misunderstood, "exotic" foreigner in Western Europe. His music is very familiar to us, yet we lack the context to appreciate his compositional procedures, his pianistic technique, and his cultural milieu. The Chopin myths have interacted in the reception of Chopin's music, creating a romanticized caricature of a serious and erudite artist, which simultaneously exalts and denigrates his status.

Music in Chopin's Warsaw is a major addition to the English language literature about Chopin. Halina Goldberg synthesizes a wide spectrum of Polish language sources to create a portrait of Chopin very different from the traditional image of the composer. Her Chopin is an exceptionally well-schooled musician with a university education; a politically engaged artist; a highly sociable, even gregarious person. His music has its roots in the Polish musical culture of the 1820s, which Goldberg describes in great detail. Without a knowledge of the world from which Chopin emerged, our knowledge and understanding of his music will always be based on false premises. Halina Goldberg's important book is now the starting point for anyone who wishes to study Chopin's life and music. ... Read more