The main goal of this thesis is to gain a greater understanding of Chopin performance and interpretation, particularly in relation to tempo and rubato. This thesis is a comparative study between pianists who are associated with the Chopin tradition, primarily the Polish pianists of the early twentieth century, along with French pianists who are connected to Chopin via pedagogical lineage, and several modern pianists playing on period instruments. Through a detailed analysis of tempo and rubato in selected recordings, this thesis will explore the notions of tradition and individuality in Chopin playing, based on principles of pianism and pedagogy that emerge in Chopin’s writings, his composition, and his students’ accounts. Many pianists and teachers assume that a tradition in playing Chopin exists but the basis for this notion is often not made clear. Certain pianists are considered part of the Chopin tradition because of their indirect pedagogical connection to Chopin. I will investigate claims about tradition in Chopin playing in relation to tempo and rubato and highlight similarities and differences in the playing of pianists of the same or different nationality, pedagogical line or era. I will reveal how the literature on Chopin’s principles regarding tempo and rubato relates to any common or unique traits found in selected recordings. The selected recordings for this study are those made before 1962 by students of Mikuli, Mathias and Descombes, by pianists who are considered to be part of the Polish Chopin tradition, and by modern pianists who play on period instruments. I address issues such as tempo markings, and the use of certain types of rubato such as ritardando and hand displacement. Discovering the choices in the use of tempo and rubato in the performances of eminent pianists who are considered to be part of the Chopin tradition may help pianists to interpret and perform Chopin’s works, and piano teachers to teach Chopin works more effectively.
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