Underscoring the sentiments: A transgressive unlocking of personal artistry in piano performance

Abstract

This thesis investigates 19th-century performance practices as preserved on reproducing piano rolls, focusing on the works of Chopin and Schubert. It examines the expressive practices characteristic of the era—manual asynchrony, unnotated arpeggiation, metrical rubato, tempo modification, and embellishment—and details their role in shaping the individualistic interpretative approach of 19th-century-trained pianists.

Through a combination of artistic research, historically informed performance, and aural analysis, this thesis explores how these expressive practices can inform and enhance my own artistic agency as a performer. By critically engaging with these practices, I reflect on how they enable a more personalised approach to performance, contrasting with the constraints of modern textualist norms.

This research culminates in a lecture-recital that embodies this exploration, demonstrating how I have integrated these expressive practices in the performance of two works: Largo from Chopin’s Sonata no. 3 in B minor op. 58 and Andante sostenuto from Schubert’s Sonata in B-flat major D. 960. This process bridges historical traditions with personal creativity, illustrating how 19th-century expressive practices can foster interpretations that embrace new artistic possibilities.