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Author

Francesca Calciolari

Title

Genesis of Fryderyk Chopin’s Sonata op. 65 for Cello and Piano

University

Università degli Studi di Siena

Supervisor

Prof. Fari!io "ella Seta

Co-examiner

Prof. #alia Pecker $erio

Thesis

"egree #hesis

Date of start and finish

%anuary &''' ( )arch *+++

 Abstract

#his study represents an atte,pt at reconstructing the Chopin’s creative process in the Sonata op. 65

for cello and piano co,posed et-een &/5 and &/0 and dedicated to the cellist 1uguste

Francho,,e.

The set of preparatory sketches and the Franchomme’s

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 Chopin’s 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: eective sketches continuative

drafts and a !rst fair copy. The description and the classi!cation of 

each sheet let to reconstruct dierent chronological phases during

drafting identifying an hypothetical Chopin’s "orking method. The

analysis of some particular sketches sheets permitted to recogni#e

teh most problematic and the main hesitational phases of the

composer during drafting.

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Chopin adopted a dierent creative attitude for each

movement trying to highlight and to increase teh structure and the

e$pressive potentialities of each from a tonal and from a stylistic

point of vie".

 An interesting fact is the sureness "hich Chopin reveals

during drafting in associate the melodic line of cello to the line of 

piano reali#ing a contrapuntal "riting "ell % distributed and yet

correspondent to the version of the !rst edition.

The comparison bet"een the autographical sources and the

 version of the !rst edition let to individuate a ne" element in

Chopin’s habits in composing. The content of the !rst fair copy

identi!ed among the set of sketches corresponds to the one of the

Franchomme’s copy but doesn’t correspond at all to the one of the

!rst edition: it "ould be possible that Chopin reali#ed the !rst fair

copy &ust for a practical end to play the Sonata "ith Franchomme

during drafting. Chopin "as used to reali#e &ust one fair copy to give

it to an editor or to a copyst before edition: "ith the Sonata for cello

he modi!ed his o"n habits creating another fair copy &ust for himself 

revealing his need to reheare the Sonata "ith the cellist. 'e "asn’t

used to "rite for t"o instruments and maybe he felt this need more

in this composition.

The studies of the Chopin’s creative process are e$iguous: this

research poses itself as a contribution to the development of them

e$pecially from a critical and analytical point of vie".

Key words

Chopin creative process "orking method sketches ( drafts

autograph fair copy sonata cello and piano Franchomme

INDEX

Introduction

Chopin’s creative process

• Studies about Chopin’s creative process

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• )ersonal composing method

• Chopin and the copysts

• Chopin and the editors

• Chopin’s manuscripts

The Sonata op. 6

• *enesis of the Sonata op. +,

• The set of sketches

•  Autographical sources

The Chopin’s creative process in the Sonata op. 6

•  Autographical sources: description

•  Allegro moderato

• Formal structure

• Systematic an chronological description of sketches sheets

• -ain creative problems in the !rst movement

• Scher#o

• Formal structure

• Systematic an chronological description of sketches sheets

• -ain creative problems in the second movement

• argo

• Systematic an chronological description of sketches sheets

• -ain creative problems in the third movement

• Finale

• Formal structure

• Systematic and chronological description of sketches sheets

• -ain creative problems in the fourth movement

!ib"io#raphy  e$%ai"