Cover -- Table of Contents -- Introduction -- Chapter 1 -- Work and Oeuvre -- Between romanticism and modernism -- Style -- The social-national dimension of creative output -- Character of the sources -- State of research -- Periodisation of the oeuvre -- Chapter 2: Early Romantic Output (i): Between Historicism and Folklorism (1876-84) -- 2.1 The compositional interpretation of Romantic historicism -- 2.2 From salon convention to personal lyric - the early instrumental miniature -- 2.3 Folklore in the national spirit: Danses polonaises, Op. 5 and Op. 9 -- Chapter 3: Early Romantic Output (ii): in the Shackles of Berlin Academicism and the National Tradition (1882-84) -- 3.1 In the sphere of the Chopin-Moniuszko tradition - Vier Lieder, Op. 7 and 'Maienblume' -- 3.2 Around a Romantic topic - between Schumannian Charakterstück and Lisztian programme -- 3.3 The idea of syncretic form - the Variations et fugue in A minor, Op. 11 -- 3.4 Source folklore in the national spirit or salon-style musique orientale? The Tatra Album, Op. 12 -- 3.5 Berlin academicism and national style - chamber and orchestral works -- Chapter 4: Mature Romantic Output (1884-96) -- 4.1 Relative historicism: stile antico - stile moderno - Humoresques de concert, Op. 14 -- 4.2 A synthesis of the lyrical and the narrative in a cyclic form, Miscellanea. Série de morceaux pour piano, Op. 16 -- Canzone -- Légende in A flat major, Légende in A major -- Mélodie in G flat major, Nocturne in B flat major, Canzone -- Un moment musical in A flat major, Minuet in A major -- 4.3 Between the national and the universal in a large cyclic work -- Thematic virtuosity - the Sonata in A minor, Op. 13 -- Piano Concerto in A minor, Op. 17 - a Schumannesque pendant? -- Violin Concerto in G minor (sketches).

An apology of Polish folklore - the Fantaisie polonaise sur des thèmes originaux pour piano et orchestre, Op. 19 -- 4.4 Romantic inspirations of the modernist watershed -- Six Songs for voice and piano, Op. 18 -- Dans le désert. Tableau musical en forme d'une toccata, Op. 15 -- Chapter 5: Stylistic Polarisation in the Face of Modernist Trends (1893-1909) -- 5.1 Manru. Lyrisches Drama, Op. 20 - eclecticism or syncretism? -- From Manolo to Manru - genesis -- The literary original and Alfred Nossig's libretto: structure and ideas -- The symbolic drama and the 'Wagner method' -- Synthetism, eclecticism or stylistic disintegration? -- The conception of Manru in the light of foreign poetics -- Manru as a parallel of the composer's identity? -- 5.2 On the threshold of a modernist stylistic polarisation: the Sonata in E flat minor, Op. 21 and Variations et fugue in E flat minor, Op. 23 -- 5.3 Chansons à la française or a creative dialogue with French symbolism: the Douze Mélodies, Op. 22 and 'Dans la forêt' to words by Théophile Gautier -- 'Dans la forêt' - the Romantic roots of symbolism -- Douze Mélodies, Op. 22 'the marriage of love and death' -- 5.4 In memoriam - sursum corda: The 'Polonia' Symphony in B minor, Op. 24 -- Specifics of musical narrative -- The symbolism of the semantic code -- Opposition to tyranny and a declaration of unity - a critique of style -- Chapter 6: Aesthetics -- 6.1 Views on art -- 6.2 Concert repertoire -- 6.3 Creative aesthetic -- 6.3.1 Paderewski - a regressive modernist? -- 6.3.2 The individual character of creative output and the universalistic style of the epoch - aesthetic value -- 'Chopin resurrected' - a function of the symbol or a substrate of an individual style? -- The 'War of the Romantics' -- Message -- Nationalism - universalism - cosmopolitanism -- Between the salon and the concert hall.

6.4 The significance of the oeuvre of Ignacy Jan Paderewski -- Bibliography -- A. Sources -- B. Subject literature -- C. Supplementary literature -- Examples.