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The Études of Frédéric Chopin are a set of technical studies for piano. They comprise two separate collections of twelve, numbered Opus 10 and Op.25, plus a further set of three without opus number. Although sets of exercises for piano had been common from the end of the 18th century (Czerny was the composer of a great number of the most popular), Chopin's not only presented an entirely new set of technical challenges, but were far more musically satisfying than any that preceded them — they were the first to become a regular part of the concert repertoire. Technical Demands Unlike most previous technical studies, which sought to cultivate an independence of finger action driven from the wrist, Chopin's require the engagement of the entire playing mechanism from the shoulder downwards. For example, Opus 10. No. 1 in C major consists of a series of wide broken chords whose span is unreachable for all but the largest hands — it is therefore necessary to use the arm to guide the fingers from note to note. Similarly, Op.25 No.10 is a study in octaves in both hands that requires powerful and flexible movements from the shoulders. Abby Whiteside, the 20th century pedagogue whose views on finger independence are perhaps the most scathing of any author on the subject of piano technique, made the Chopin Études the focus of all her writings — for her they were the final proof of the total inadequacy of any attempt to delegate either strength or direction to the weakest muscles of the playing apparatus. Musical Form Like the Preludes of the 48 Preludes and Fugues of JS Bach, whom Chopin was known to idolise, the Études are, generally speaking, based on a single short motif that is constantly developed. Many have a contrasting middle section in which the figuration is varied. Most are short, consisting of no more than six pages of manuscript, and lasting less than five minutes — some can be played in less than a minute and a half. In the first set, the Études are grouped into relative key pairs (with the exception of Nos. 6 and 7) — eg No.1 in C major is grouped with No.2 in the relative minor key of A. However in the Op.25 set, only the first two have such a relationship. Precocity The first études of the Opus 10 set to be composed were written when Chopin was still in his teens — as such, they rank alongside the early works of Mendelssohn as rare examples of extremely youthful compositions that are regarded as both innovative and worthy of inclusion in the standard canon. Études Op.10 The first set of Études was published in 1833 (although some had been written as early as 1829). Chopin was 23 and already famous as a composer and pianist in the salons of Paris — it was here that he made the acquaintance of Franz Liszt, to whom the work is dedicated. No. 1 in C major
No. 2 in A minor An exercise in developing the weaker fingers of the right hand — the thumb and index finger are made to play accompanying chords, leaving the work of playing the chromatic melody to the third, fourth and fifth fingers. Chopin originally indicated that the chromatic melody is to be played only with the fourth and the fifth fingers (not the third one). Due to the difficulty of playing it this way, the third finger is generally used as well. No. 3 in E major A slow cantabile study, in which the right hand must maintain a singing tone in the melody whilst contributing to the accompaniment. It is intended to be played together with No.4; the score indicates an attacca from one to the other. No. 4 in C sharp minor Fast passage work in both hands — close scalic passages alternate with sections of wide leaps. The melody and ripped chord accompaniment alternate between hands with great frequency. No. 5 in G flat major The famous 'Black Key' Etude consists of only one white note in the entire right-hand part, which consists of fast arpeggiated triplets. No. 6 in E flat minor Another cantabile exercise, in which a slow melody in the right hand is accompanied by a flowing counter-melody in the left. The right hand has some awkward chord voicings which contribute to the difficulty of sustaining the melody. No. 7 in C major The right hand is required to play an alternating series of thirds and sixths. No. 8 in F major A melody in the left hand is accompanied by constant semiquaver arpeggios in the right. In a highly chromatic middle section both hands are given constant semiquavers. No. 9 in F minor A widely-stretched arpeggiated accompaniment in the left hand complements a fragmented right-hand melody that incorporates octaves and cross-rhythms. No. 10 in A flat major Again, the left hand (or more practically, left arm) is given the task of finding notes beyond its natural span, but this time the right hand must alternate a single-note melody with sixths, whilst taking account of the fact that this alternation forms a cross-rhythm with the 12/8 time-signature. No. 11 in E flat major A study in ripped chords — the extremely large span of some of the chords requires rapid and efficient movement from the arm. No. 12 in C minor The Revolutionary Etude is probably the most well known of the set — fast passage work in the left hand accompanies the mostly octave right-hand melody. Études Op.25 Chopin's second set of Études was published in 1837, and dedicated to Franz Liszt's mistress, Marie d'Agoult, the reasons for which are a matter of speculation. No. 1 in A flat major Often nicknamed the 'Aeolian Harp' or the 'Shepherd Boy' etude. A weak fifth finger encounters a singing melody above a passage of interweaving musical textures. A popular etude for beginners, due to its technical facility relative to other etudes. No. 2 in F minor Nicknamed 'The Bees' or "Scenes From a Child's Dream" by Schumann, a study in cross-rhythms and rapid but delicate fingerwork to create a whispering tone. No. 3 in F major No. 3 has jerky gestures, with the main syncopated stated at various intervals. There are, in fact, four separate melodies in each beat. This etude is considered a study in rhythm. No. 4 in A minor The right hand plays a marcato syncopation of chords which accompanies leaping left-hand notes. No. 5 in E minor Commonly nicknamed the 'Wrong Note' etude, on account of its piquant grace notes. The agitated opening section is followed by a beautiful lyrical middle section (one of the few Etudes to feature one). The main theme then returns, and ends in a recitativo coda with trills, representing the Romantic Chopin at some of his very best. No. 6 in G sharp minor A taxing and even hazardous study in rapid thirds, this is among the hardest of the etudes and is reputed to be the hardest piece in thirds in the piano repertoire. No. 7 in C sharp minor A study requiring meticulous tonal and melodic balance, it is comparable to a duet for a cello and flute. No. 8 in D flat major Among the more difficult of the set, a study in sixths that was considered by Hans von Bulow to be the most useful etude in the opus. No. 9 in G-flat major The 'Butterfly' Etude. A study that requires good wrist endurance and projection of melody above vibrant chords in both hands. One of the more well-known etudes. No. 10 in B minor A ferocious etude consisting of fast, chromatic octaves in both hands. One of the few etudes to feature a middle section, whose lyrical beauty contrasts dramatically with the first section. No. 11 in A minor The 'Winter Wind.' A stately, march-like theme in the left hand is accompanied by a complex and meticulous network of chromatic notes in the right hand. No. 12 in C minor More popularly known as the 'Ocean' Etude. Tremendous and stark arpeggios that characterise the study produce a majesty reminiscent of waves crashing against a boat. Trois Nouvelles Études These were written as a contribution to the Méthode des Méthodes, a piano instruction book by Ignaz Moscheles, and were not given a separate Opus number. They are somewhat less challenging than Chopin's other Études. | |||||||||
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