Recording by Rubinstein
This etude also deals with triple over duple rhythms. The right hand fingerings have to be exact to maximize efficiency in shifting from chord to chord.
Tuesday, May 25, 2010
Monday, May 24, 2010
Etude no.25 - Op.posth. Novelles Etüde No.1: F-minor
Recording by Rubinstein
This etude has to do with rhythm; the pianist must play three triplet quarter notes in the left hand over four eighth notes in the right hand and make it sound smooth. A very beautiful piece, quite poignant.
This etude has to do with rhythm; the pianist must play three triplet quarter notes in the left hand over four eighth notes in the right hand and make it sound smooth. A very beautiful piece, quite poignant.
Friday, May 21, 2010
Etude no.24 - Op.25 no.12: C-minor
Recording by Perahia
This etude focuses on arpeggios, which require calculated attention to certain aspects of finger movement. If the movements are not correct, the pianist will not be able to play the notes fast.
This etude focuses on arpeggios, which require calculated attention to certain aspects of finger movement. If the movements are not correct, the pianist will not be able to play the notes fast.
Thursday, May 20, 2010
Etude no.23 - Op.25 no.11: A-minor
Recording by Perahia
This piece is founded on the chromatic scale and is focused on agility. The pianist has to focus on accentuating the melody without letting the accompaniment get too loud; this can be difficult because part of the accompaniment is in the same hand that the melody is in.
This etude is one of those dynamic ones that would be absolutely stunning to see live in concert.
This piece is founded on the chromatic scale and is focused on agility. The pianist has to focus on accentuating the melody without letting the accompaniment get too loud; this can be difficult because part of the accompaniment is in the same hand that the melody is in.
This etude is one of those dynamic ones that would be absolutely stunning to see live in concert.
Wednesday, May 19, 2010
Etude no.22 - Op.25 no.10: B-minor
Recording by Perahia
Well, the theme of this etude is obvious: most of it consists of consecutive octaves. This serves to build up the strength of the pianist's hands and wrists. Playing octaves uses different muscles than playing consecutive notes does.
Well, the theme of this etude is obvious: most of it consists of consecutive octaves. This serves to build up the strength of the pianist's hands and wrists. Playing octaves uses different muscles than playing consecutive notes does.
Tuesday, May 18, 2010
Etude no.21 - Op.25 no.9: Gb-major
Recording by Pollini
To be honest, I'm not quite sure what the exact purpose of this etude is...Perhaps it is about playing rapid octaves in succession (while alternating the octaves with chords)? The left hand looks like it could be working on precise jumps, because there is a lot of jumping from single lower notes to higher chords.
To be honest, I'm not quite sure what the exact purpose of this etude is...Perhaps it is about playing rapid octaves in succession (while alternating the octaves with chords)? The left hand looks like it could be working on precise jumps, because there is a lot of jumping from single lower notes to higher chords.
Monday, May 17, 2010
Etude no.20 - Op.25 no.8: Db-major
Recording by Pollini
This right-hand etude involves detailed fingering as it relates to parallel sixths, etc. Once again, there are no shortcuts here because of the rapid tempo. I'm not sure why you would want to attempt a shortcut, either, because the ascending sixths are much easier to play when the proper fingering is used.
This right-hand etude involves detailed fingering as it relates to parallel sixths, etc. Once again, there are no shortcuts here because of the rapid tempo. I'm not sure why you would want to attempt a shortcut, either, because the ascending sixths are much easier to play when the proper fingering is used.
Wednesday, May 12, 2010
Etude no.19 - Op.25 no.7: E-major
Recording by Perahia
In this etude, Chopin shows his emotional side. This is a slow etude, containing a tempo marking of "lento." Don't be fooled by this, however. Though the beat is slow, the rhythm is actually quite fast in some areas where the left hand has chromatics to deal with. I like how Chopin characteristically gives almost equal weight to both hands, instead of just giving the left hand a simple accompaniment or the right hand a simple melody.
In this etude, Chopin shows his emotional side. This is a slow etude, containing a tempo marking of "lento." Don't be fooled by this, however. Though the beat is slow, the rhythm is actually quite fast in some areas where the left hand has chromatics to deal with. I like how Chopin characteristically gives almost equal weight to both hands, instead of just giving the left hand a simple accompaniment or the right hand a simple melody.
Tuesday, May 11, 2010
Etude no.18 - Op.25 no.6: G#-minor
April 18, 2011: On or before this day is when I plan on being done with listening to all of Chopin's works...that will be exactly one year from when I started...just a clarification in case you thought that I was going to listen to one every single day. That has turned out to be quite a stressful ideal.
Recording by Pollini
Obviously, this etude is dealing with rapid parallel thirds. The right hand has to be extremely agile. Also, the fingering can NOT be fudged. Proper fingering is imperative, so that the pianist doesn't stumble over their fingers when playing the thirds in succession.
Recording by Pollini
Obviously, this etude is dealing with rapid parallel thirds. The right hand has to be extremely agile. Also, the fingering can NOT be fudged. Proper fingering is imperative, so that the pianist doesn't stumble over their fingers when playing the thirds in succession.
Saturday, May 8, 2010
Etude no.17 - Op.25 no.5: E-minor
Recording by Horowitz
This etude is light and deep at different periods during the piece. Accentuating the melody wherever it is located is an important part of this piece's goal. Sometimes the melody is in the right hand and other times it is in the left hand.
This etude is light and deep at different periods during the piece. Accentuating the melody wherever it is located is an important part of this piece's goal. Sometimes the melody is in the right hand and other times it is in the left hand.
Friday, May 7, 2010
Etude no.16 - Op.25 no.4: A-minor
Recording by Pollini
This etude focuses on exact staccatos and legatos. It would not nearly as exciting without the correct, exact sounding of these two articulations.
This etude focuses on exact staccatos and legatos. It would not nearly as exciting without the correct, exact sounding of these two articulations.
Thursday, May 6, 2010
Etude no.15 - Op.25 no.3: F-major
Recording by Pollini
This etude is definitely concerned with accuracy in terms of mordents and accents. According to Wikipedia, "a mordent is an ornament indicating that the note is to be played in a single rapid alternation with the note above or below....The term comes from the Latin mordere, meaning "to bite." There are a number of notated mordents in this etude, meaning that the mordent sign isn't shown but each note is written out individually. As far as accents are concerned, they occur on the "ands" of every note, such as one AND two AND three AND.
This etude is definitely concerned with accuracy in terms of mordents and accents. According to Wikipedia, "a mordent is an ornament indicating that the note is to be played in a single rapid alternation with the note above or below....The term comes from the Latin mordere, meaning "to bite." There are a number of notated mordents in this etude, meaning that the mordent sign isn't shown but each note is written out individually. As far as accents are concerned, they occur on the "ands" of every note, such as one AND two AND three AND.
Wednesday, May 5, 2010
Etude no.14 - Op.25 no.2: F-minor
Recording by Perahia
This etude definitely takes some agility; just hearing it gives one this impression. Interestingly enough, every note in this piece sounds like it should be there. It ascends and descends little by little in such a way that, as a listener, it is very comfortable to experience.
This etude definitely takes some agility; just hearing it gives one this impression. Interestingly enough, every note in this piece sounds like it should be there. It ascends and descends little by little in such a way that, as a listener, it is very comfortable to experience.
Tuesday, May 4, 2010
Etude no.13 - Op.25 no.1: Ab-major
Recording by Rubinstein
Moving on to Opus 25, the first etude is perhaps the most famous etude of this opus. It is actually part of my repertoire. Technically it is quite challenging because there are about 24 notes to be played in each measure in each hand and only an approximate total of 5 of these notes should be accented: the rest of the notes have to be sounded quietly and evenly. The speed at which the etude should be played requires a significant amount of stamina, even though Rubinstein may make it sound easy. The pinky finger in the right hand must be especially strong because it is accenting the melody.
Moving on to Opus 25, the first etude is perhaps the most famous etude of this opus. It is actually part of my repertoire. Technically it is quite challenging because there are about 24 notes to be played in each measure in each hand and only an approximate total of 5 of these notes should be accented: the rest of the notes have to be sounded quietly and evenly. The speed at which the etude should be played requires a significant amount of stamina, even though Rubinstein may make it sound easy. The pinky finger in the right hand must be especially strong because it is accenting the melody.
Monday, May 3, 2010
Etude no.12 - Op.10 no.12: C-minor
Recording by Richter
It is fitting that the last etude of this opus should be the most dynamic. This is one of the most famous, if not THE most famous Chopin etude of all time. (It was my text message alert for the longest time.)
It starts out with a booming G7 chord that is unforgettable. The left hand plays rapid sixteenth notes throughout the entire piece, while the melody is strongly emphasized with the use of octaves and chords (not just single notes). The etude would definitely not have the force that it carries were it not for the purposeful, careful use of dynamics which enhance the melody.
It is fitting that the last etude of this opus should be the most dynamic. This is one of the most famous, if not THE most famous Chopin etude of all time. (It was my text message alert for the longest time.)
It starts out with a booming G7 chord that is unforgettable. The left hand plays rapid sixteenth notes throughout the entire piece, while the melody is strongly emphasized with the use of octaves and chords (not just single notes). The etude would definitely not have the force that it carries were it not for the purposeful, careful use of dynamics which enhance the melody.
Sunday, May 2, 2010
Etude no.11 - Op.10 no.11: Eb-major
Recording by Richter
This etude uses arpeggiated chords, which is the point of the exercise. It is difficult to play consecutive, fast arpeggiated chords for a long period of time, so this etude is probably meant to serve as an endurance piece. Also, it is hard to accent the last note at the end of the arpeggio, because the pinky finger is normally the one that plays it. So this etude also functions as a pinky finger awareness and strengthening exercise.
This etude uses arpeggiated chords, which is the point of the exercise. It is difficult to play consecutive, fast arpeggiated chords for a long period of time, so this etude is probably meant to serve as an endurance piece. Also, it is hard to accent the last note at the end of the arpeggio, because the pinky finger is normally the one that plays it. So this etude also functions as a pinky finger awareness and strengthening exercise.
Etude no.10 - Op.10 no.10: Ab-major
Recording by Ashkenazy
I think this is the first etude for which I haven't been greatly in awe. The melody is greatly overpowered by the accompaniment, since parts of the accompaniment are in higher ranges (pitch-wise)than the melody. It's still a cool piece to listen to, but I just don't like the fact that the accompaniment distracts from the melody.
I think this is the first etude for which I haven't been greatly in awe. The melody is greatly overpowered by the accompaniment, since parts of the accompaniment are in higher ranges (pitch-wise)than the melody. It's still a cool piece to listen to, but I just don't like the fact that the accompaniment distracts from the melody.
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