Chopin Etudes Op. 10

 

No.1 in C Major

From the opening C pedal note a glistening arpeggio takes flight in the right hand. The descent of this arpeggio requires supple wrists and a strong 5^th finger. The etude aims to strengthen the arpeggios of the pianist over the breadth of the keyboard at speed.

No. 2 in A minor

An exercise in the strengthening of fingers 3, 4 and 5 of the right hand while voicing a chord simultaneously is the theme for this etude. The level of fun is increased by the sempre legato marking

No. 3 in E major “Tristesse”

A gorgeous melody for the nicknamed “sad” etude opens paired with a thick rocking accompaniment in four voices. An animato section allows for the strengthening of sixths, fourths and thirds. A reprise of the theme follows the animato.

No. 4 in C sharp minor

From the start to the finish line, this etude is relentless not only in its tempo, but also in the finger dexterity required in both hands. The etude studies chromaticism, arpeggios and the strengthening of the 4^th and 5^th fingers in both hands.

No. 5 in G flat Major “Black Key study”

Entitled the “Black Key study”, the etude speaks for itself when you see it on the page. A study, which has the right hand playing rapid triplets while the left hand, plays the melody in chords. Its difficulty lies within the brisk tempo and the right playing only on black keys.

No. 6 in E flat minor

Less virtuosic, this etude is not about speed but a about beauty of line. The melody is plaintive and mournful played completely in the right hand. In saying that though the accompaniment consisting of a sixteenth note progression also seems to act like a secondary melody. Accidentals litter this etude, which would perhaps make it a little harder to memorize.

No. 7 in C Major (Toccata)

This quick little number has some right hand difficulties with a sixteenth note pattern characterized by rapidly changing intervals ranging from a minor third to an augmented sixth. The difficulty lies not only in the tempo but also the fact that the large interval is not on the same melodic line as the smaller one. The melody is a little odd and it is very difficult to get a clean sound. Not a favorite.

No. 8 in F Major

Starting off with a brief right hand trill, it eventually gives way to rapid sixteenth-note runs soaring up and down the keyboard for the entirety of the piece in the right hand, with a jester like melody in the left hand. As fast as the right hand is written, it compliments the left hand melody beautifully.

No. 9 in F minor

One of the most lyrical of all the etudes, it has a gorgeous dark melody. This is played in the right hand in single notes and small chords, and then in stronger octaves. The passage, work for the left hand gets a work out with rapid arpeggiated stretches with intervals of a tenth or more. The haunting melody dominates the etude and must ring out of the busy accompaniment.

No. 10 in A flat Major

This etude fits very nicely under the hand and has a consistent structure throughout; a single eighth note followed by an interval that is almost always above this note. The structure is built on arpeggios in the right hand while left hand plays eighth notes with two longer, held notes every measure. Accents vary the rhythm and phrasing greatly making the piece difficult to play musically.

No. 11 in E flat Major (Arpeggio)

As the title states, this etude rolls every chord in both right and left hands. Each hand consists of either a three or four note chord sometimes up to a twelfth in both hands. This is a great etude to develop wrist control and finger dexterity. At the same time the pianist must be aware of the ongoing melody in the top voice.

No. 12 in C minor (Revolutionary)

One of the most recognized of all Chopin’s compositions, it begins with a dramatic C minor chord followed by a left hand descending run, which whirls the etude to an impassioned theme. The boiling accompaniment is a work out for the left hand, which suitably supports the melody full of struggle and longing. The etude ends in C major leaving the listener with a sense of ambiguity.

 

 

 

 

 

Op. 25

No. 1 in A flat Major (Aeolian Harp)

The first etude of the Op. 25 begins with a delicate theme. The one note melody remains in the right hand with added graced notes by both hands played underneath the theme. The aim of the etude is to play every note with the utmost legato imitating the sound of a harp. A great piece to increase the suppleness within the wrists.

No. 2 in F minor

A soft lyrical etude with soft eighth note triplets in the right hand played at presto. The study is in the left hand, which plays a polyrhythm, one note for every two notes in the right hand. Once the two are put together with added p the lyrical line sings through.

No. 3 in F Major (Cartwheel/Horseman)

This etude is more a study in rhythm than anything else. The rhythm is as follows: a short note followed by a long note followed by the melody note. However there is also a second voice in the right hand, a dotted eighth note that is to be held while the first two are being played. Towards the end it is that held note that makes up the melody.

No. 4 in A minor

The main difficulty in this etude is the left hand jumps, which can span up to two octaves at times. This etude unlike his other works does not concentrate on the legato style of playing but rather the staccato. The right hand carries the melody often in chords of three or four notes, where the top note should be heard as the melody, and sometimes is held longer while the other fingers of the right hand play staccato.

No. 5 in E minor (Wrong note)

This curious title is supported by the minor second intervals, which make up the main theme leading to a feeling that the notes are wrong. The difficulty lie in the large rolls and ornaments in the left hand that can get very specific at times but add to the scherzando character of the piece.

No. 6 in G sharp minor (Thirds)

My personal favorite. An ode to the thirds. This etude is an exercise in executing thirds of all sorts in the right hand. It opens with a trill of two chromatic thirds, which then quickly progresses to turns, rapid scales up and down, and intervals of a sixth or more, all in thirds. All this is to be played p and legato. Piece of cake. Moving on.

 

No. 7 in C sharp minor

A beautiful recitative like melody opens this etude in the left hand. This continues with accompaniment consisting of slow chords in the right hand and the melody in the left however, this melody is also interweaved into the right hand or accompaniment passage, making the melody at times ambiguous.

No 8 in D flat Major (Sixths)

As the title suggests this is a festival of sixths not only in one hand. But both! The study is in parallel sixths in both hands all the way through, and some how when played molto legato and at the right tempo one can hear a melody. A good test for suitable fingering.

No. 9 in G flat Major (Butterfly)

The shortest of the twenty-four, the left hand employs ragtime stride piano, while the right hand has the melody created by playing a detached octave, then two non-detached octaves creating a butterfly effect at speed. The constant switching from detached octaves to tenuto octaves give the etude its jerky character.

No. 10 in B minor (Octaves)

One of the longest etudes in Chopin’s set, it is based on rapid octaves that ascend and descend in both hands. The difficulty does not only lie in the clean execution of the octaves, but in the middle notes that are to be held for one or two measures. It is this melody note that the octaves must be played around. Just one thing to worry about I guess..one could always quietly hum the middle voice..no harm done.

No. 11 in A minor (Winter wind)

My favorite opening of all Chopin’s etudes. A simple four bar melody which completely explodes into chaos and smacks you straight in the face. Great fingering in the right hand is required to execute the storm created by the sixteenth note patterns above the chordal melody in the left hand. To make matters more intriguing, the right hand has melodies as well with the “top” melody created with a chromatic scale, and the “bottom” melody acting as the accompaniment.

No. 12 C minor (Ocean)

The last of the twenty-four etudes can be linked back to etude No. 1 in C major. Nicknamed the “Ocean” , this can be heard by the extremely fast ascending and descending arpeggios similar to No.1. In addition Chopin decides to have the arpeggios in both hands with added accents, melodies within the arpeggios, and to frequent modulation. This all makes for a very turbulent ocean!

 

Trois Nouvelles Etudes

I.               F minor

 

The first of the Nouvelle Etudes works on developing polyrhythms, and introduces the study of three against four. The long passionate melody is made up of three notes and due to the four notes in the left hand it plays against; a certain level of resistance is created.

      2.            A flat Major

A sweet etude continuing the study of polyrhythm’s, it is two against                    three. Right hand chordal pattern played against a leaping left hand accompaniment.

      3.                    D flat Major

The most difficult of the three, it studies the art of playing legato and               staccato simultaneously in the same hand. If that is not enough, the counterpoint adds to the challenge.

 

Mazurkas

Op.17

I.               B-flat Major

 

This Mazurka begins with a stately fz with a melody in thirds and smooth ‘octave, chord, chord’ accompaniment in the bass. The Mazurka is littered with accents on various beats for each bar which at times gives it a common time feel, however Chopin still maintains the Mazurka quality by putting accents on the second beat in most cases. The middle section in E-flat major has a gypsy like accompaniment, where the first beat alternates from a quarter note to two eighth notes and the melody is more ornamented with a thinner texture.

      

II.             E minor

 

Much lighter texture, this E minor Mazurka has a nostalgic quality to it. Labeled lento ma non troppo the four bar opening stays within the confines of one octave, then is interrupted by dotted rhythm figuration with slurs and staccatos. The melody is simple, and smooth and as the piece develops to G major, it combines with the dotted rhythms and employs a chordal accompaniment eventually leading back to a reprise.

  

III.           A-flat Major

 

The curious opening introduces the melody with a diminished chord, immediately resolving itself to the tonic. The Mazurka is composed in small two bar fragments, with question and answer like gestures. Compared to the previous Mazurka, A-flat major is very homophonic with the diminished harmonies underlying the melody. An E-major section has a playful character yet still maintains the same harmonic structure before returning the original key.

 

       IV                   A minor

The last Mazurka of the Op.17 set is more characteristic and much freer than the previous three. It opens with the accompaniment and the espressivo melody begins lyrically in the manner of the famous E minor Prelude. The accompaniment changes only slightly, descending chromatically as the melody develops with greater ornamentation and markings in the style of the polish dance.

 

Op. 59

I.               A minor

 

The first Mazurka of this set is highly chromatic, and rich in melody and counterpoint. A strong opening to the set, with a searching melody, the dotted rhythms and steady accompaniment work hand in hand to create a work of ternary form to build this unassuming Mazurka full of wonder.

 

II.             A flat Major

Chopin’s second Mazurka is of a pleasant character with a very strong chordal accompaniment supporting the four bar melody. The piece ends with an ascending, winding lyrical line, which seems to just disappear into thin air.

III.           F sharp Major

 

The most innovative of the Op. 59 is placed last. The main theme is based on a triplet figure. Very noble and waltz like in character, Chopin uses interesting descending chromatic chords in the accompaniment which color the melody beautifully. The Mazurka ends with a lengthy coda where the melody is eventually heard in the right hand and ends with the introduction of a new theme.

 

 

Preludes Op.28

I.               C Major

 

The prelude opens with rolling buoyancy, which continues in a wave-like motion, with the aid of triplets, straight to the end. The melody in the top voice rises and falls in an arch shape and eventually ends with an ascending arpeggio.

 

II.             A minor

 

A huge contrast from the first prelude, the opening begins with somewhat brooding harmony in the bass, with a melody that carries a search-like quality. However it is the ominous bass accompaniment, which directs the motion of the prelude, increases its ambiguity.

 

                    III.                   G Major

Opening with a bubbling vivace left hand based on the tonic, and the four bar melody is based on longer valued which enhances the sixteenth note pattern underneath. The melody stays consistent with the tonic, much more predictable than No. II

 

 

     IV.           E minor

 

Probably the most recognized of all Chopin’s works. The success of this prelude lies behind its simplicity. The constant chugging motion in the bass accompaniment, which descends chromatically while the melody follows suit creates an automatic feeling of loneliness and longing.

 

 

 

 

                             

 

 

 

V.      D Major

             

Due to the many modes, and perpetual motion of the sixteenth notes, this prelude conveys an anxious, rushed character. Based on the opening dominant seventh that quickly transcends through a melting-pot of keys, the prelude is simultaneously spontaneous and harmonically intense.

 

VI.            B minor

 

Once again, a quick character change and texture introduces the B minor prelude with a poignant melody in the bass and a simple continuous chrodal accompaniment in the right hand. The melody continually searching for higher grounds with an ascending arpeggio, but always returns with no answer.

 

VII.          A Major

 

My personal favorite of the preludes. It is small, simple, consistent and because of these factors it is easy to follow and beautiful to hum. Even in the shower.

 

VIII.        F-sharp minor

 

Turbulence and an insistent character interrupt the peaceful atmosphere set up by No. VII. Due to the triplet accompaniment and 32^nd note configuration decorating the tenor melody, the prelude as no time to breathe. Yet its rich texture and insistent rhythm still give the prelude an ongoing pulse.

 

 

IX.            E Major

 

In the style of a church hymn, the character from the very broad opening stays consistent throughout. The broad quality is aided by the triplet accompaniment against the melody in the right hand, and the bass register which the prelude is set.

 

X.              C-sharp minor

 

Based on a group of descending 16^th note triplets, this prelude lasts no more than 30 seconds. Yet within that small time frame, Chopin manages to formulate a four bar theme, which repeats four times in the left hand eventually, leads to quaint v-i to conclude the miniature.

 

XI.            B Major

 

A festive little number, the prelude in 6/8 creates its dance like appeal with grace notes on the 2^nd beat. The harmony is very central with both  left, and right hand having eighth note figurations.

 

XII.          G-sharp minor

 

From the word go, the opening introduces the tonic key and gradually ascends and descends in wave-like motion. The melody that follows is mostly a chromatic figuration. Throughout, passing tones and suspensions develop the texture however the regularity of the accompaniment guides the rhythm of the prelude.

 

XIII.       F-sharp Major

 

The tolling of bells come to mind with the opening of this prelude, with the chiming of chords accompanied by gentle left hand figuration. The melody takes its time to develop and is supported by the subtleties

of the bass, which in fact can be thought of as a melody in its own right.

 

XIV.      E-flat minor

 

            A random little number, this prelude I like to think of an upset, lonely old man. The triplets that make up the rhythmic structure of the prelude act as the pulse and form the texture for the allegro. Both hands work in unison from beginning to end.

 

XV.      D-flat Major

 

            The longest of the 24 preludes, D-flat major has been nicknamed ‘Raindrop’, reminiscent of droplets of water represented by the constant repetition of the A flat. Opening with a very long sweet melody, the prelude eventually gives way to a storm in the B section, which maintains the repetitive figuration. The return of the A section dies away quietly with the A flat responsible for the final word.

 

XVI.      B-flat minor

 

            Virtuosic, flamboyant, a little Langlangish are words that come time mind as soon as this Prelude takes off. The relentless treble race supported by constant bass gesture which rings like a bass drum make this sound more like a study, yet it still manages to have a harmonic direction woven carefully into the right hand passage built for speed.

 

XVII.      A-flat Major

           

            Opening with an accompaniment figure, soon the melody takes over but not so overwhelming that it dominates the lush harmonies. The prelude has a swelling effect which can be felt over each four bar phrase. There is much chromaticism in the inner voices, which adds to the rich texture.

 

XVIII.      F minor

 

            Random sporadic thoughts come to mind on the hearing of this Prelude. In a league of its own, No.18 is made of a small number of gestures, packed together yet not quite connecting to one another. Nothing feels very definite apart from the perfect cadence that abruptly ends the piece.

 

XIX.      E-flat Major

 

            Light in texture and character, the prelude is based on rapid triplet-eighths with the melody based on the first note of each triplet. Left hand works in unison with the right hand and often works in contrary with the melody.

 

XX.      C minor

 

            A funeral-like march opens with a very definite i-iv-v-i. As the chordal prelude descends chromatically, to the tonic the whole four bar phrase is echoed, and the painful reiteration concludes the piece.

 

XXI.      B-flat Major

 

            Once again, a striking figure in this prelude is the active accompaniment, which moves, in contrary motion, continually giving a sense of expansion. The melody is very spacious and broad, and eventually joins the contrary motion of the bass whilst still sounding the lyrical line.

 

XXII.      G minor

 

            Although the melody is placed in the right hand, the dominating figure lies in the bass melody doubled throughout in octaves. The right hand contributes with thick diminished seventh chords arriving on offbeat’s. The agitated character is strengthened by the slurred right hand gestures that compliment the scalic octave passages of the left hand.

 

XXIII.      F Major

 

            A simple yet delightful leading to the finale. The beauty of this prelude is the sparkling right hand arpeggiations, with accompanying trills. The high register gives the effect of a small music box playing. Based a four bar theme the prelude never steers far from the tonic.

 

XXIV      D minor

 

            An ominous repeating bass figuration begins the prelude, and eventually introduces the melody leading to a school of cadential runs. The texture of the prelude remains the same until the last two pages in which the melody is doubled with octaves, more cadential runs, and eventually the ringing of low F to end the prelude collection. An interesting end, to a very unique collection of preludes.

 

                 

 

 

 

           

 

Fanny Mendelssohn – Das Jahr

 

Imagine spending a year in Rome, keeping a diary for each month, and writing a set of 12 pieces that depict your time away. Not only is it a great way to pass the time, but also a beautiful way to clarify your thoughts. How different music is from words, can only be defined by the listener.

 

Januar

The introduction to the opening month is in vein of Liszt’s B minor Sonata. The descending octaves and sparse use of the keyboard acquire a sense of the unknown. Its dark opening leading to a presto section in an una fantasia style set the scene for the festivities that lie before the young Fanny.

Febuar

February is a playful scherzo with a group of descending fourths to open. Immediately a sense of mischief is set loose. The continual ascending and descending motion coupled with fourths and fifths act like playful jesters at a carnival.

März

A complete contrast from the previous month. March, is based on the Lutheran chorale Christ is erstanden. Prior to the introduction of the chorale, a clear melody introduces the month, which has an insistent/longing character, and expands as the accompaniment thickens. An ‘Ave Maria’ like accompaniment decorates the chorale after its initial introduction and leads to larger majestic variation to conclude the month.

April

A reflective opening depicts thoughts of perhaps basking in the sun. The anxious character of the allegro from nowhere develops to give a sense that the family is on the move to another part of Rome, or leaving all together. Either way there is much struggle and nostalgia.

May

With its 9/8 meter, the lilting motion of the piece creates a sense of dance in the opening. However, as the melody develops and the right hand chords grow in harmonic intensity, a feeling of movement can be pictured from one place to another as the family continues to travel.

June

Is somebody having withdrawals? I would like to think so. Fanny clearly depicts this in this Serenade with a depressing melody, which seems to be longing for somebody or something. Most likely her time in Rome. Schubert’s Serenade came to mind when the andante section enters. The drama continues to increase with the melody in the tenor line and swooping arpeggio figuration in the right hand. Lisztian style at its best.

July

A simple chordal opening with very light texture expresses a feeling of emptiness. The piece develops to introduce very low tremolos in the bass portraying heartache or frustration, yet the melody continues on over the struggle heard in the tremolos. As the piece gradually leads back to the major, there is an understanding the sun will rise again tomorrow.

August

Finally Fanny sees the light and her happiness is restored. The dotted rhythm introduction acts as a shout “I am well again!”..The March which follows is a celebration of dance, life and getting back onto her feet. Home isn’t bad after all.

September

The beauty of this (apart from it being the month of my birth) is the gorgeous melody in the minor, which to me implies a sense of content with oneself, almost to say that Fanny is happy with where she is at in her life. The melody being in the bass is very grounded, and is decorated with wave-like figuration in the right hand.

October

A bright optimistic out look on life, comes to mind when this month begins. The march like figuration, thirds and fifths make for a very confident September, perhaps looking forward to great things to come, or her fond memories of Rome. All in all, the octaves in the left and large chords in the right hand are celebratory in character demonstrating a love for life.

November

The opening entitled mesto has a very nostalgic like quality, with hymn-like embellished with repeated high octaves as if to trigger a thought. The octave figuration continues to repeat it self as the accompaniment becomes more regular and eventually leads to an allegro. The quick semiquaver configuration sees the piece through a series of more active events and the melody is played between the hands.

December

Christmas Bells and cheer are evoked through the semiquaver thirds that open the month. Fanny’s use of chromaticism and fast past passagework makes for a jolly celebratory occasion. December also introduces Bach’s Christmas chorale Von Himmel hoch da komm ich hier. This is expanded with bell like chords and continuous octave accompaniment.

Postlude

A gorgeous piece to sum up the entirety of the whole work, it is a Chorale on Das alte Jahr vergangen ist.

 

Clara Schumann

Four Character Pieces for the Piano, Op. 5

I.               Impromptu: Le Sabbat

 

This short feisty number full of wide leaps, chromatic appoggiaturas, creates a very demonic character. The dissonances heard contribute to the title “Le Sabbat” which is in reference to witches’ Sabbath, a theme that intrigued many romantic composers.

 

II.             Caprice à la Boleros

 

A quick Bolero, Schumann’s second character piece of the set immediately brought to mind a tarentella dance. Its strong rhythm and pulse drives the dance forward to evoke the Latin flavor required of a Bolero. The tranquillo section allows for a slow dance and greatly contrasts the up beat yet slightly sinister mood of the presto.

 

III.           Romance

 

In my opinion, this piece is the most wistful and melancholy of the set. Although set in B major, Clara’s use of accidentals make for sudden harmonic changes throughout that make the direction of the melody unpredictable. Despite her choice of harmonies, the contrast of articulation, swooping dynamics and thick texture all enhance the character of a romance.

      IV.       Scène fantastique: Le Ballet des Revenants

Motifs from this last character piece figure in the first movement of Robert               Schumann’s great F-sharp Minor Sonata. It opens with a rocking motif using diminished fifths just as Robert used in the first movement of his Sonata. Clara’s use of repeated motifs, high register and acciaccatura’s with staccato figuration all manifest the scene of a ballet.

 

Variationen

Uber ein Thema von Robert Schumann Op. 20

These variations were written for Clara’s husband the composer Robert Schumann for his birthday. Based on a theme that Robert himself wrote, Clara transforms the theme into a beautiful set of variations, which take the listener on a journey full of melody, intricacy and virtuosity. The opening is chorale-like and is a transposition of Robert’s theme into the major. Based on a descending five-note motive, this theme gradually transforms through fast passage work, contrapuntal writing, yet all the while maintaining the charm for lyrical line that is a trademark of Clara’s writing. As the variations develop, so does the thickness of the texture, and soon the piece explodes into a frenzy of brilliant arpeggios before the coda which cleverly quotes Clara’s Romance Vairee Op.3 intertwined with Robert’s own theme.