In addition to the two cycles op. Here some assistance is afforded by the recently published work of Maurice J. Pianist and composer. His work is concentrated around piano music that enjoys extraordinary popularity and has become an integral part of the concert repertoire. First compositions at age seven, his first public performance at eight. Travels to Vienna, where he gives two concerts of his compositions and improvisations. To top things off, for its speed, this is one of the longest etudes of the The etymology of the nickname is immediately apparent upon listening to the piece.
One of the more popular Chopin works, this etude has the right hand playing rapid triplets while the left hand plays the melody in chords. This would be easier to accomplish, however, if the right hand notes were not completely on black keys! Chopin also included more dynamic indications in this etude than most others, though this can be attributed to its relative brevity; at only four pages, the etude lasts about a minute and a half played at proper tempo.
The greatest technical difficulty of this etude is getting the right hand to flow. Without a firm yet fluid hand motion, the right hand will either be missing some of the intended legato feeling or some of the intended vivace feeling. The tempo indication is written Vivace. Due to the very fast right hand being played entirely on black keys, it is quite easy to get notes wrong. Even though the piece is intended to be played legato , there is a certain crispness to it that foils attempts at oversimplifying the pedaling.
Too much pedal makes the right hand sound very messy, while too little makes the left unnecessarily choppy. There is actually one white key in the right hand. About three-quarters of the way through, the piece temporarily slows down and the right hand plays the chord D-flat, F, and B-flat! Like the Etude Op. It proceeds at a rather slow pace — the tempo indication is Andante. The melody is very plaintive and mournful and is completely in the right hand.
The left hand, however, has some practice in playing two different voices. The first voice consists of one or two bass notes or chords per measure. This is not very difficult. The second voice, however, consists of a thoughtful sixteenth-note progression that continues throughout the entire piece.
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. Trite though it may sound, the Polish composer and the keyboard were made for each other.
As a pianist he was known for the delicacy and lightness of his touch, for the poetic atmosphere he created. As composer his life work was devoted to creating music for his instrument — essentially solos but also two concertos and a few other piano-with-orchestra works. His treatment of the orchestra was rudimentary and only significant if treated seriously by a conductor.
He created a style in which the piano was the medium for song and for a whole new world of sonority that resulted from many ingenious elements, among them the fanciful, exquisite ornamentation he applied to his bountiful melodic inventions; the masterly use of the sustaining pedal; tempo rubato the holding back and pushing forward of speed, with its resulting emotionalism ; the unique, wide-spread accompaniment figures that carried the harmonic substance.
Each hand has intense challenges, ranging from brilliant runs and multi-octave leaps to tricky articulations which must be phrased correctly so the melody becomes audible. Though the waves move through various heights and intensities, the majority of the piece could be likened to a particularly stormy evening on the high seas.
The piece concludes with majestic flair in C major, like the calm after the storm. Share this Post. Search Submit Clear. About Us.
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