As a pianist, Chopin was mostly self-taught and constantly searching for new approaches to piano playing. Known as the "Revolutionary Etude" Chopin wrote Op. The constantly moving left hand supports a right hand lamenting the fate of Poland.
Konstantyn Travinskyy. Courtesy of International Music Foundation. Chopin extends the darkest and most demonic resources of expression of his nature in number 12 with a terrifying passion, there is no veiled or repressed anger, everything explodes in the frenzy of a hurricane. The characteristics described by Leichtentritt also deserve to be mentioned: "From the point of view of a purely pianistic approach, Chopin expresses in this powerful piece a pathetically eloquent heroic melody, penetratingly acclaimed, in the octaves of his right hand, accompanied by waves in passages of the left hand, in torrents of flow and stormy reflux.
The melody of the pathos of the Etude is correct, the adequate force, the accompaniment that captivates the rage of the impact, the uninterrupted impulse of the wave, is a task in practice, difficult" At such heights of power and pathos they had not even reached a Symphony or Sonata, even in which Beethoven so recently ended before this Etude was written: creativity still did not know the variety of media that Chopin developed here. These include the intensified chromatic element in relation to Beethoven and the use of interchangeable notes in the serious passages, and finally the great combination of waves in shorter and longer passages, which allows a great variety of dynamic effects.
The phrases in this Etude are a classic example of the theory that melody is a fluid force. In the eight measures of the main theme, whose motives serve to extend the entire study, we are dealing with the coordination of a series of tensions and relaxations of melodic energy in a linear whole. The general system has the highest category harmony. In this sense, I personally believe that it is the added value of the work that his master in composition, Elsner, insistently instilled in him about the counterpoint, which allows him to increase the dose of genius of our universal composer.
The bass notes that become shorter tensions and relaxations are a preparation prior to the great melodic assault accentuated by the upper voice in the first and strongest rhythm of two and four notes, which is accompanied by greater tension and relaxation in the low. These rhythmic, longer and oscillating movements of the internal dynamics of the motives of the Etude give it an expression of strength in itself.
It is a rare thing for a great artist to write on art, to leave the passionate worlds of sounds or colors for the colder realm of words; rarer still for him to abdicate, even temporarily, his own throne, to stand patiently and hold aloft the blazing torch of his own genius, to illume the gloomy grave of another: yet this has Liszt done through love for Chopin. He was one of those original beings, whose graces are only fully displayed when they have cut themselves adrift from all bondage, and float on at their own wild will, swayed only by the ever undulating impulses of their own mobile natures.
But it would be an error to think that Chopin permitted every one of the small notes to be distinctly heard. It was rather an undulation of the A flat major chord, here and there thrown aloft anew by the pedal.
Throughout all the harmonies one always heard in great tones a wondrous melody, while once only, in the middle of the piece, besides that chief song, a tenor voice became prominent in the midst of chords. After the Etude a feeling came over one as of having seen in a dream a beatific picture which when half awake one would gladly recall.
In the execution of this Etude - the most famous in the history of piano - we consider several aspects that require a specific preparation of the technique all Etudes require this specific preparation. Being precise, neat and respectful of the great genius, to whom we should not amend the plan because it would fall into a high level of arrogance, it is necessary to rigorously examine his writing, which is the only thing we retain of rigorous authenticity.
In this case, since the Etude has greater development of the left hand, we say that it is a study for this hand - and therefore it is very good to review it to keep it exercised. If we are neat in what Chopin writes, we see in the beginning the accents every four semiquavers, which curiously go unnoticed in most of the proposals. Although determined by the dynamic expression f we find two types of accents, that of the initial chord of the right hand with a wedge, which refers to being a more striking accent, which is not within the slur, with the other accents more planes that refer to being of much lower intensity, practically of pure mental intention.
It should be noted that the first accent on the left occurs in the third semiquaver note, not in the first, as is usually the case. Which gives it an even faster sense. Our way of thinking is no longer every four semiquavers, but every eight. It is common to hear how the interpreter delays at that point to achieve the accuracy of hand coincidence and facilitate the jump of the right hand from fifth to eighth and seventh chord to dominant, with bravery, somewhat mitigating the risk, which at my point of view, the temperamental exposure of Chopin and the rhythm of the rhythm are stopped from the beginning.
Even more between measure 4 and 5, where the jump is still greater, seventh. Studying it slowly and without a pedal is highly recommended. By the way, these commercial editions cost me dearly at the time. Regarding the meaning of the phrases and their correct realization, it is necessary to understand the origin, the antecedent school of the harpsichord and the fortepiano.
A phrase has a micro-breath at the beginning and another at the end. These breaths, consequently at a high speed of execution, are purely of intention, mental, it can only serve to think about them, but based on the work of having practiced them a lot so that they are very clear within the meaning of the interpretation.
Then such is its importance. In music everything is written from Mozart. It is not as with the poems of poets, for example, where there can be a wide range of possibilities and form of communication. We arrive at measure 9, where the motif appears in the left hand for the first time with a surge effect.
With a slur that includes it whole, and two regulators up to the middle and down. The proposals of Paderewsky and Ekier seem to me right, but not that of Cortot, which when using the thumb on the last ascent note and not using the 4 finger on the rise and fall, but the 3, will slow down the option want to get more speed. Even with this fingering and everything, the execution is not simple and requires a great balance in the hand and does not exceed the thresholds to emphasize too much the regulators.
Also of course, the correct form we use in terms of mobility, which is at this point where I would like to make practical examples so that you could see the difference and where one system or another would lead us, the risks, the benefits, the sonority, etc. Another of Chopin's most interesting and characteristic points are its rhythmic combinations. With the rhythmic cell created in the second measure in the right hand, we propose a small variation, expanding it with a semiquaver note previously, to be joined these four notes in octaves with a phrasing slur.
While in the beginning that opening would serve as an effect presentation along with the 9 initial bars , in this case it shows us what will be the main leit-motiv and true seal of the Study, his bravado credential, sense of dignity, pride of race, well marked and with determination, and always coinciding perfectly with the left hand, which in this case is divided into two minor waves, so that it enters almost in the middle of the second and solves the intrinsic weight or accent of the next measure, helped by the ascending regulator, with the highest load of Polish absolute sense.
It's like getting the cavalry. Impressive the skill for, in broken movements of second and third intervals of the left - which requires a power of said hand to the real Samson piano performer - that does not cease to remain complete the impulse of brave until the end of said measure with the diminishing, having reached the cusp of the ascending motor in the flat B of the left hand and descending with scale of G, or dominant, since the flat BF then becomes natural B and separation of third in the last two semiquaver notes, which is where the phrase of two measures of the left hand ends.
The effect reached this point has been devastating and everything that has to come later, even if it is maintaining the level of genius, is still merely a sequel to what has already been exposed and happened.
Returning in measure 19 to a repetition of measure 9, but this time in sotto voce in a soft way and half voice , it resurfaces with sforzando in 23 to return to the passion and vary with respect to measure 14 remember that it was the chord from dominant to dominant to the seventh dominant F chord in second investment in measure 24, also in sforzando and tenuto really the difference between the previous one and this new change is produced by having the natural F , and this occurs with a progression of agitation in crescendo , syncopated that culminates in stretto , with the bass rising in chromatic, until it ends at measure 26 where the pianist must flaunt great technical power in the left hand in the arpeggio rise and descent marking the Cadence, this time, perfect, that determines us towards the modulation of the flat if that is, we have lowered a descending tone.
Perhaps it is the passage that follows the one with the greatest technical difficulty, mainly for students, due to the number of alterations, and how to develop safety, precision and speed within the framework of the chosen tempo and rhythm maintenance.
From bar 28 to bar For the modulation variant so drastic that Chopin proposes going from flats to sharps and double doubles , something common in him on the other hand, but that makes understanding much more difficult. Rather than being an accompaniment, it is almost like a second melody. The progression is only slightly technically challenging to play; the only major technical difficulties are the unusual positions that the left hand must occasionally assume.
The numerous accidentals make this portion of the piece extremely difficult and time-consuming to learn, however!
For this etude to sound musically pleasing, one must also clearly express the beautiful flowing main melody of the right hand. It is doing this above the sixteenth-note progression that is the challenge. This rather eccentric-sounding etude has some interesting right-hand difficulties; the left hand is rather simple, playing single eighth notes throughout. However, the right hand is in perpetual motion, characterized by rapidly changing intervals ranging from a minor third to an augmented sixth.
No two intervals of comparable size are ever next to each other, which make execution at proper tempo a special challenge; a third is almost always followed by a fifth or a sixth. This is made difficult by the fact that the large interval is not on the same melodic line as the smaller one. The two notes of the smaller interval are often completely below the two notes of the larger one.
Another difficulty lies in the treatment of the repeated notes in the intervals; occasionally, the top note of the third is the bottom note of the larger interval immediately proceeding or preceding it.
Interpretation is made particularly tricky by the technical difficulty, and the programmatic title comes from the rapid progression of intervals that can cause the piece to sound rather like a very detached toccata if not played with legato. Due to the somewhat odd melody and the difficulty of getting a clean sound, it is unfortunately not one of the most popular etudes. The Etude Op. The obvious technical difficulty here is in the right hand, as the rapid sixteenth notes present quite a challenge.
Even though the melody is in the left hand, the right hand is designed to complement the melody in some parts, so careful dynamic control is necessary for the piece to sound good. There is also the ever-present difficulty of playing rapid sixteenths evenly, occasionally softly, and, of course, with legato. It should be noted, however, that the endurance required to play this is nowhere near the endurance required to play the Etude Op. As with some of the other etudes in the Op.
The bright, uplifting melody makes this etude much more accessible than some of the others; one might picture a singing bird, gliding freely in the open air, swooping gracefully a few times before gently landing on a tree. The piece is not difficult to interpret, but the pianist will almost certainly run into trouble getting the piano — especially the right hand — to sound the way he or she wants it to. The right hand plays the melody in single notes and small chords, and then in much stronger octaves, neither of which are tremendously difficult technically.
Passage work for the left hand is more difficult. It is similar to the left hand found in the Nocturne Op. The rapid arpeggiated stretches often reach a tenth or more. As the piece progresses, there are numerous jumps, though these are not very difficult in comparison to those of some of the other etudes! The difficulty is that the left hand must be handled extremely delicately and precisely in order to give the piece its haunting undertones. The last few measures of the piece also require special attention, as they are very gentle and delicate in both hands, and it is tricky to obtain the exact effect one wants.
This difficulty is prominent in this one. From the very beginning, a very dark melody rings out. The melody is more reminiscent of silent despair and struggle than of any open conflict.
Our hero does not burden others with his fight; he chooses to weep to himself silently. As the piece progresses to the climax, his struggle grows harsher and more violent. It threatens to consume him entirely. Eventually, the piece fades away to nothing, and our hero ultimately falls. This piece is built on a very interesting structure. The first theme, which begins in a sunny F major, modulates to a partly cloudy D minor, with a strong chance of rain.
After a period of stormy tension, the piece returns to the first theme before beginning a third musical idea. Finally, a dazzling flourish reminds listeners of the first theme. The last etude of the Op. The writing for the left hand, filled with fast runs, is by no means easy.
Curiously, the piece does not come to a clear resolution at the end; as displayed above, it stops abruptly after a final statement of the main theme.
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