![]() The left hand plays a melody in slow legato octaves. These nonstop arpeggios, based mostly on chords of a tenth and covering up to six octaves, surpass the drier octave arpeggios of earlier piano composers such as Ludwig van Beethoven, Muzio Clementi or Carl Czerny in richness of overtones as well as in difficulty. The novelty of this étude is its broad right hand arpeggios in sixteenth notes. In Robert Schumann's 1836 article on piano études in Neue Zeitschrift für Musik, the study is classified under the category "stretches: right hand" ( Spannungen. Unfortunately, instead of teaching, it frequently un-teaches everything. If you learn it according to my instructions it will expand your hand and enable you to perform arpeggios like strokes of the bow. Problems playing these files? See media help.Ĭhopin's pupil, Friederike Müller-Streicher (1816–1895), quotes Chopin: Both right hand arpeggios and left hand octaves are to be played legato throughout. Unlike Op. 10, No. 4, which reaches fff, this one stays in f throughout and never once reaches ff. A slower tempo ( = 152) has been suggested by later editors such as Hans von Bülow who feared that at = 176 "the majestic grandeur impaired." There is no Maestoso indication by Chopin though. A copy by Józef Linowski of Chopin's autograph reads cut time ( alla breve). The time signature common time is according to the first French, English, and German editions. Chopin's metronome marking, given in the original sources, is MM 176 referring to quarter notes. The work is to be executed at an Allegro tempo. A harmonic reduction ("ground melody") of the work can already be found in Carl Czerny's School of Practical Composition. ![]() A fictional example of Chopin's harmonies with Bach's figuration and vice versa is given by British musicologist Jim Samson (born 1946). 1 in C major (BWV 846) from The Well-Tempered Clavier has been noted by musicologist Hugo Leichtentritt (1874–1951), among others. Its harmonies resemble a chorale and its relationship to Bach's Prelude No. ![]() James Huneker states that Chopin wished to begin the "exposition of his wonderful technical system" with a "skeletonized statement" and compares the étude to a "tree stripped of its bark." Excerpt of harmonic reduction (bars 41–49: circle of fifths leading to recapitulation) after Carl Czerny The first part of the middle section introduces chromaticism in the left hand octave melody while the second one modulates to the C major recapitulation via an extended circle of fifths. The étude, like all études by Chopin, is in ternary form (A–B–A), recapitulating the first part. 1 in C major (BWV 846) with Chopin's Étude Op. 1." Structure and stylistic traits Comparison of Bach's Prelude No. Virtuoso pianist Vladimir Horowitz, who refused to perform this étude in public, said, "For me, the most difficult one of all (the études) is the C Major, the first one, Op. The American music critic James Huneker (1857–1921) compared the "hypnotic charm" that these "dizzy acclivities and descents exercise for eye as well as ear" to the frightening staircases in Giovanni Battista Piranesi's prints of the Carceri d'invenzione. This study in reach and arpeggios focuses on stretching the fingers of the right hand. It was first published in 1833 in France, Germany, and England as the first piece of his Études Op. 1 in C major is a study for solo piano composed by Frédéric Chopin in 1829.
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