...Michael L. Klein This article considers the problem of narration in a collection of works gathered around Chopin's Ballade in G Minor, op. 23: Guillermo del Toro's Crimson Peak , Poe's “The Raven,” Mickiewicz's Konrad Wallenrod , Dickens's The Chimes , and Władysław Szpilman's The Pianist along...

...Roger Moseley The ambiguity of Chopin's music and its amenability to reinvention help account for its enduring appeal to pianists, composers, and critics. This article examines the conditions under which such ambiguity has taken shape on the page and at the piano. Just as curves become jagged...

...Halina Goldberg The traditional musicological perspective on Chopin's slow, minor-key mazurkas and mazurka sections—that he modeled these episodes on the kujawiak , a Polish folk dance from Kujawy region — is plagued by contradictory statements. Re-evaluation of source material reveals...

...Lawrence Kramer Among Chopin's numerous musical identities is that of an important mid-nineteenth-century social type, the dandy: the young man of fashion characterized by a devotion to artifice and a fractious political energy masked by elegant mannerisms. This article seeks to ground...

...Ewelina Boczkowska Chopin's Stuttgart diary, written in a state of fear for his loved ones after the defeat of the anti-Russian insurrection in fall 1831, reveals the exiled composer's emotional distress and morbid alienation. Chopin's intense feelings of mourning lent his imagination a peculiar...

...Michael Klein This article views Chopin's Mazurka in C# Minor, op. 30, no. 4, as akin to a dream that is open to analysis from a Lacanian perspective. After a discussion of Jacques Lacan's famous orders of subjectivity (the imaginary, the symbolic order, and the Real), the article turns to his idea...