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Leichtentritt calls the étude a "nocturne like piece of intimate and rich cantabile melodics, relieved in its middle section by a highly effective sound-unfolding of a novel and peculiarly original character ". This étude's similarity to a nocturne is frequently noted. At the end of the étude the fair copy autograph contains the directive attacca il presto con fuoco which means that Chopin foresaw the joint performance of both this étude and the following one. The final A section is a quite literal though shortened restatement of the first one. Its effect is "based on its contrast with the fourth period and on the gradation of the most tender nuances in piano". Leichtentritt believes it to be "one of the most exquisite sound impressions ever contrived for the piano". The fifth period (bars 54–61), leading back to the final restatement of the theme, can be described as an extended dominant seventh. It reaches a climax in the fourth period (bars 46–53), a bravura passage of double sixths for both hands. The third period, although it stays chromatically centered around E major, is a long sequence of diminished seventh and tritone intervals, littered with accidentals and irregular rhythms difficult to play. Leichtentritt observes that each eight-bar phrase is "ruled by a new motif" and that "each of these segments surpasses the preceding one in sonority and brilliancy". In the middle section ( poco più animato), characterized by rhythmic shifts and sudden harmonic turns, theme and accompaniment are fused into oscillating double notes. A novelty are the distinct crescendo and diminuendo signs allocated "polyphonically" and sometimes even differing in the two voices played by the right hand.Įxcerpt from the middle section of this étude (bars 40 – 42) The melody itself is characterized by repeated notes. The melody is accompanied by oscillating semiquavers played by the right hand in a manner reminiscent of the Adagio cantabile movement of Beethoven's Sonata Pathétique while the syncopated rhythm in the left hand somewhat counteracts the simple "naiveté" of this oscillation. According to Leichtentritt bars 6–8 with its stretto and final ritenuto can be interpreted as the contraction of a four-bar clause. Italian composer and editor Alfredo Casella (1883–1947) notices the Pelléas-like effect of the oscillating major thirds in bars 4–5 anticipating Debussy by more than half a century. The first five bars can be seen as a contraction of 4 + 4 bars with the final clause ( consequent) of the prototypal eight-bar period replaced by bar 5. Musicologist Hugo Leichtentritt (1874–1951) believes its asymmetric structure, (5 + 3) + (5 + 7) bars, to be highly relevant to the impact of the melody. The A section is of remarkable melodic construction. Like most of Chopin's other études, this work is in ternary form (A–B–A). Structure and stylistic traits īars 4–5 developed in " Debussian manner", by Alfredo Casella These are unwritten by Chopin, according to his autograph manuscript and other original source materials. There is also no doppio movimento following the opening section, which results in an erroneous drastic slowing down for the reentry of the opening section. The visual impact of the score alone strongly suggests that a languid tempo is incorrect. It is also relevant to observe that this etude is in 2Ĥ, although it is generally performed as a very slow 4Ĩ piece. Ĭhopin originally gave his Op. 10 No. 3 Etude the tempo Vivace, later adding ma non-troppo. American music critic James Huneker (1857–1921) believed it to be "simpler, less morbid, sultry and languorous, therefore saner, than the much be-praised study in C sharp minor (Étude Op.
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According to German scholar and Chopin biographer Frederick Niecks (1845–1924), Chopin said to his German pupil and copyist Adolph Gutmann (1819–1882) that he "had never in his life written another such beautiful melody ( ' chant ') and on one occasion when Gutmann was studying it the master lifted his arms with his hands clasped and exclaimed: 'O, my fatherland!' (" O, me patrie!")" Niecks writes that this study "may be reckoned among Chopin's loveliest compositions" as it "combines classical chasteness of contour with the fragrance of romanticism".
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It marks a significant departure from the technical virtuosity required in standard études before Chopin's time, though, especially in the third volume of Muzio Clementi's Gradus ad Parnassum (1826), slow études for polyphonic playing, especially slower introductions to études, as well as études with alternating slower and faster sections, can easily be found. This étude differs from most of Chopin's in its tempo, its poetic character and the lingering yet powerful recitation of its cantabile melody. Problems playing this file? See media help.
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Performed by Martha Goldstein on an Erard (1851) – 4534KB