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

Example 2. Schenker's annotated score of Chopin, Prelude No. 6 in B minor(from the Jonas Collection)

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Example 4. Further annotations for "intertwined playing" ( ) inChopin'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)

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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)

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Example 5. Three excerpts from an analysis by Angelika Elias of Chopin's B-minor Prelude(from the Oster Collection)

(a)

(b)

(c)

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Example 6. Headings from two early drafts of the chapter on interruption in(adapted from Marston 2013)Free Composition

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loosening (Auflockerung) of the Urlinie-Zug through interruptioninterruption in the case of 3

[interruption in the case of 5]

[interruption in the case of 8?]

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: 3- 3-2-1the turning back to 3 does not mean a cadencehalf cadence? divider? partial arpeggiation ( )?with the first stand of 2, the voice leading breaks offthe first 2 is not a neighbor noteinterruption as the root of forminterruption or neighbor note?

at the first level, only the interruption from 5-2 5-1 is a possibility5-2 is a 4-Zugthe turning back to 5 does not mean a cadence5-2 5-1 as the root of form in the foreground

impossibility of an interruption in the case of 8-18-5 5-1 as the root of form in the foreground

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Teilbrechung

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

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Example 8. Three excerpts from an analysis by Schenker of Chopin's C-major Prelude(from the Oster Collection)

(a)

(b)

(c)

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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

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

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