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Wiktor Misiak, Independent Scholar, PolandAbstract
In 1848, Fryderyk Chopin gave a series of concerts throughout the United Kingdom, which constituted a characteristic phase of his artistic output during the final years of his life. These performances were significant not only for the British musical scene but also for the reception of his late works beyond France’s borders. The purpose of this paper is an analysis of the Cello Sonata in G minor, Op. 65, for cello and piano—one of Chopin’s rare works written for a bowed instrument—as an example of the extension of his musical language. It illustrates how the techniques implemented in the Sonata serve as a link influencing the development of Romantic-era chamber music. The author focuses on the dialogue between cello and piano in the Sonata, Op. 65, which represents a mindful attempt to explore new forms of musical expression. This analysis is based on detailed score interpretation, with a focus on thematic relationships, chromaticism, and textural balance. Furthermore, the study reflects on the historical and performative context—in particular, the plausible performance of this composition during Chopin’s 1848 tour in the United Kingdom—to demonstrate the atypical role of the Sonata as an example of Romantic chamber music expressiveness. The results indicate that this work transcends the typical boundaries of Chopin’s style, and it had a considerable influence on the development of the Romantic sonata—not only in terms of virtuosity but also as a testament to the partnership in musical dialogue between the two instruments.
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Conference: ECAH2025Stream: Arts - Performing Arts Practices: Theater
This paper is part of the ECAH2025 Conference Proceedings (View)
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To cite this article:
Misiak W. (2025) Chopin: Beyond Piano Boundaries ISSN: 2188-1111 – The European Conference on Arts & Humanities 2025: Official Conference Proceedings (pp. 447-458) https://doi.org/10.22492/issn.2188-1111.2025.36
To link to this article: https://doi.org/10.22492/issn.2188-1111.2025.36
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