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Étude Op. 10, No. 6 (Chopin)

August 19, 2023

Étude Op. 10, No. 6, in E♭ minor, is a study for solo piano composed by Frédéric Chopin in 1830. It was preceded by the relative key. It was first published in 1833 in France,[1] Germany,[2] and England[3] as the sixth piece of his Études, Op. 10. The tempo Andante in 6
8 and con molto espressione indicate a more moderate playing speed than Chopin's other études with the exception of Op. 10, No. 3 and Op. 25, No. 7. This étude focuses on expressivity and chromatic structuring of the melody[4] as well as polyphonic texture.

Excerpt from the Étude Op. 10, No. 6

Structure and stylistic traits

 
Harmonic reduction (bars 1–9) after Hugo Leichtentritt

Musicologist Hugo Leichtentritt (1874–1951) describes the three- (and sometimes four-) voice texture thus: "A melody of painful, elegiac expression over a slow, almost sluggish, bass, in-between a winding middle voice [in sixteenth notes] which, despite its narrow range adds a great inner agitation."[5] A characteristic trait of the melody are the chromatic auxiliary notes played on the beat and approached by disjunct motion.[6]

Like all of Chopin's other études, this work is in ternary form A–B–A. The strict periodic structure contains eight-bar periods—two in the A section, forming a regular 16-bar period, three in the middle one and in the final A section a single eight-bar period expanded by five bars.[7] The harmonic relationships in the first eight bars, marked by a deceptive twist to bar 4 and a Neapolitan chord in bar 7, are shown in a harmonic reduction.[8] Bars 9–16 repeat the same progression, ending with an E♭ minor perfect cadence.

 
Leichtentritt's graphic sketch of the middle section (bars 17–41) showing the individual design of the three eight-bar periods

The three eight-bar periods of the middle section do each have a particular design. The first one is marked by a rise to the middle and a corresponding descent of the consequent. The irregular second one, leading to the climax, reveals its excited rhythmic nature especially in the consequent, while the third one is a steady chromatic descent from the climax.[9] The effect of the harmonic progression of this middle section is described thus by Leichtentritt: "A magnificent transition from E♭ minor (bar 16) to the mildly shining E major (bar 21) [Chopin has changed the key signature here]; the exciting chains of sequences with their cross-relations (bars 29–32); the wonderfully sonorous decline to E♭ minor so delicately shaded with accents of timbre (bars 33–41)."[10]

The final A section is a shortened repeat of the first one. In the last seven bars a most beautiful effect is produced by the repeated use of the chord of the Neapolitan sixth to delay the final cadence[11] and especially by the "unexpected gleaming" of A major (bar 49) in the E♭ minor cadence. This A major enchantingly reflects the E major of the middle section (bar 24).[12] The piece closes with a Picardy third, in E♭ major.

Character

American music critic James Huneker (1857–1921) calls the étude "a dark doleful nocturne. […] the melody is full of stifled sorrow."[13] Italian composer and editor Alfredo Casella (1883–1947) speaks of "meditated grief" and thinks "it is difficult to conceive an elegy more severe and sober than this study."[14] French pianist Alfred Cortot (1877–1962) on the other hand calls the character of this study "feverish and concentrated" and insists that "below the passionate lament of the upper voice […] we must hear a vital lower part […] uniting with it [yet] preserving its own timbre and its own freedom of rhythm."[15]

Tempo

Chopin's metronome mark, given in the original French and German editions,[16] is  . = 69 referring to dotted quarter notes. The English edition[17] has   = 69 referring to quarter notes instead. Austrian pianist and composer Gottfried Galston (1879–1950) suggests a tempo of  . = 50, as "the carrying power of the modern piano's cantabile allows for a broader layout of the cantilena." He also believes that "the tempo of this étude is subjected to the most multifarious fluctuations."[18] Polish pianist and editor Jan Ekier (born 1913) writes in the Performance Commentary to the Polish National Edition that this étude is "always performed slower or much slower than is indicated by [Chopin's] tempo. […] the tempo becomes as much as three times slower than the authentic one, thus changing the metronomic unit from  . = 69 to   = 69. The causes could be discerned in certain performance "traditions" prevailing during the second half of the nineteenth century, which had little in common with those derived directly from Chopin."[19]

Technical difficulties

 
Two examples of Chopin's original fingering (bar 3 and bar 7)

In Schumann's 1836 Neue Zeitschrift für Musik article on piano études,[20] the study, together with Op. 10, No. 3, is classified under the category "melody and accompaniment in one hand simultaneously." Cortot states that the attention of the student should be directed to perfecting polyphonic playing, an expressive intensity of tone and legato and believes that finding the individual tone for each of the simultaneous melodic lines is a particular difficulty.[21] He suggests to produce the tone of the upper part by pressing the keys to the bottom with firm and straight fingers. To ensure even action of the fingers playing the figure in semiquavers he recommends to start practicing in a non legato where the fingers do not lose contact with the key. For the final legato the weight of the hand should bear slightly on each semiquaver to produce a kind of portamento with a timbre that will not merge into the upper melodic line.[21] Cortot also introduces an exercise for flexibility of the foot to produce an "uninterrupted quivering" pedal, but advises to practice the finger legato first without pedal.[22] There are no original pedal marks by Chopin.

Arrangements

 
Leopold Godowsky's left hand version, publ. 1909 (opening)

A version for the left hand alone can be found in Leopold Godowsky's 53 Studies on Chopin's Études.[23] Canadian pianist Marc-André Hamelin (born 1961) describes this "most beautiful achievement" thus: "A continuous, rapid line of demisemiquavers snakes its way around and through Chopin's melancholic chorale, enhancing it without being in the least bit obtrusive."[24]

Notes and references

  1. ^ ("French edition"). Paris: M. Schlesinger, June 1833.
  2. ^ ("German edition"). Leipzig: Fr. Kistner, August 1833 .
  3. ^ ("English edition"). London: Wessel & Co, August 1833.
  4. ^ Leichtentritt, Hugo. "Die Etüden." In Analyse der Chopin’schen Klavierwerke [Analysis of Chopin's Piano Works]. Band II. Berlin: Max Hesses Verlag, 1922, p. 112.
  5. ^ Leichtentritt, p. 112
  6. ^ Collet, Robert. "Studies, Preludes and Impromptus." In Frédéric Chopin: Profiles of the Man and the Musician. Ed. Alan Walker. London: Barrie & Rockliff, 1966, p. 132.
  7. ^ Leichtentritt, p. 111
  8. ^ See: Leichtentritt, p. 112
  9. ^ Leichtentritt, p. 115
  10. ^ Leichtentritt, p. 113
  11. ^ Collet, p. 132.
  12. ^ Leichtentritt, p. 118
  13. ^ Huneker, James. "The Studies—Titanic Experiments." In Chopin: The Man and His Music. New York: Charles Scribner's Sons, 1900, p. 62.
  14. ^ Casella, Alfredo. F. Chopin. Studi per pianoforte. Milano: Edizioni Curci, 1946, p. 38.
  15. ^ Cortot, Alfred. Frédéric Chopin. 12 Études, op.10. Édition de travail des oeuvres de Chopin. Paris: Éditions Salabert, 1915, p. 40.
  16. ^ "French" edition, p. 25; "German" edition, p. 25
  17. ^ "English" edition, p. 22
  18. ^ Galston, Gottfried. Studienbuch [Study Book]. III. Abend [3rd Recital] (Frédéric Chopin). Berlin: Bruno Cassirer, 1910, p. 31.
  19. ^ Ekier, Jan, ed. (National Edition). "Performance Commentary." Chopin Etudes. Warsaw: Polskie Wydawnictwo Muzyczne, 1999, p. 138.
  20. ^ Schumann, Robert. "Die Pianoforte-Etuden, ihren Zwecken nach geordnet" ["The Pianoforte Études, Categorized According to their Purposes"]. Neue Zeitschrift für Musik No.11, February 6, 1836, p. 46.
  21. ^ a b Cortot, p. 40
  22. ^ Cortot, p. 44
  23. ^ Godowsky, Leopold. Studien über die Etüden von Chopin. Berlin: Robert Lienau (vormals Schlesinger), 1903 - 1914.
  24. ^ Hamelin, Marc-André. "Godowsky's Studies on Chopin's Etudes." Liner notes for Godowsky: The Complete Studies on Chopin's Etudes. Hyperion. CDA67411/2, 2000, p. 17.

External links

 
Étude No.6
Martha Goldstein playing on an Erard (1851) - 2.92 MB
Problems playing this file? See media help.

August 19, 2023
Étude, chopin, Étude, minor, study, solo, piano, composed, frédéric, chopin, 1830, preceded, relative, first, published, 1833, france, germany, england, sixth, piece, Études, tempo, andante, molto, espressione, indicate, more, moderate, playing, speed, than, c. Etude Op 10 No 6 in E minor is a study for solo piano composed by Frederic Chopin in 1830 It was preceded by the relative key It was first published in 1833 in France 1 Germany 2 and England 3 as the sixth piece of his Etudes Op 10 The tempo Andante in 68 and con molto espressione indicate a more moderate playing speed than Chopin s other etudes with the exception of Op 10 No 3 and Op 25 No 7 This etude focuses on expressivity and chromatic structuring of the melody 4 as well as polyphonic texture Excerpt from the Etude Op 10 No 6 Contents 1 Structure and stylistic traits 2 Character 3 Tempo 4 Technical difficulties 5 Arrangements 6 Notes and references 7 External linksStructure and stylistic traits Edit Harmonic reduction bars 1 9 after Hugo LeichtentrittMusicologist Hugo Leichtentritt 1874 1951 describes the three and sometimes four voice texture thus A melody of painful elegiac expression over a slow almost sluggish bass in between a winding middle voice in sixteenth notes which despite its narrow range adds a great inner agitation 5 A characteristic trait of the melody are the chromatic auxiliary notes played on the beat and approached by disjunct motion 6 Like all of Chopin s other etudes this work is in ternary form A B A The strict periodic structure contains eight bar periods two in the A section forming a regular 16 bar period three in the middle one and in the final A section a single eight bar period expanded by five bars 7 The harmonic relationships in the first eight bars marked by a deceptive twist to bar 4 and a Neapolitan chord in bar 7 are shown in a harmonic reduction 8 Bars 9 16 repeat the same progression ending with an E minor perfect cadence Leichtentritt s graphic sketch of the middle section bars 17 41 showing the individual design of the three eight bar periodsThe three eight bar periods of the middle section do each have a particular design The first one is marked by a rise to the middle and a corresponding descent of the consequent The irregular second one leading to the climax reveals its excited rhythmic nature especially in the consequent while the third one is a steady chromatic descent from the climax 9 The effect of the harmonic progression of this middle section is described thus by Leichtentritt A magnificent transition from E minor bar 16 to the mildly shining E major bar 21 Chopin has changed the key signature here the exciting chains of sequences with their cross relations bars 29 32 the wonderfully sonorous decline to E minor so delicately shaded with accents of timbre bars 33 41 10 The final A section is a shortened repeat of the first one In the last seven bars a most beautiful effect is produced by the repeated use of the chord of the Neapolitan sixth to delay the final cadence 11 and especially by the unexpected gleaming of A major bar 49 in the E minor cadence This A major enchantingly reflects the E major of the middle section bar 24 12 The piece closes with a Picardy third in E major Character EditAmerican music critic James Huneker 1857 1921 calls the etude a dark doleful nocturne the melody is full of stifled sorrow 13 Italian composer and editor Alfredo Casella 1883 1947 speaks of meditated grief and thinks it is difficult to conceive an elegy more severe and sober than this study 14 French pianist Alfred Cortot 1877 1962 on the other hand calls the character of this study feverish and concentrated and insists that below the passionate lament of the upper voice we must hear a vital lower part uniting with it yet preserving its own timbre and its own freedom of rhythm 15 Tempo EditChopin s metronome mark given in the original French and German editions 16 is 69 referring to dotted quarter notes The English edition 17 has 69 referring to quarter notes instead Austrian pianist and composer Gottfried Galston 1879 1950 suggests a tempo of 50 as the carrying power of the modern piano s cantabile allows for a broader layout of the cantilena He also believes that the tempo of this etude is subjected to the most multifarious fluctuations 18 Polish pianist and editor Jan Ekier born 1913 writes in the Performance Commentary to the Polish National Edition that this etude is always performed slower or much slower than is indicated by Chopin s tempo the tempo becomes as much as three times slower than the authentic one thus changing the metronomic unit from 69 to 69 The causes could be discerned in certain performance traditions prevailing during the second half of the nineteenth century which had little in common with those derived directly from Chopin 19 Technical difficulties Edit Two examples of Chopin s original fingering bar 3 and bar 7 In Schumann s 1836 Neue Zeitschrift fur Musik article on piano etudes 20 the study together with Op 10 No 3 is classified under the category melody and accompaniment in one hand simultaneously Cortot states that the attention of the student should be directed to perfecting polyphonic playing an expressive intensity of tone and legato and believes that finding the individual tone for each of the simultaneous melodic lines is a particular difficulty 21 He suggests to produce the tone of the upper part by pressing the keys to the bottom with firm and straight fingers To ensure even action of the fingers playing the figure in semiquavers he recommends to start practicing in a non legato where the fingers do not lose contact with the key For the final legato the weight of the hand should bear slightly on each semiquaver to produce a kind of portamento with a timbre that will not merge into the upper melodic line 21 Cortot also introduces an exercise for flexibility of the foot to produce an uninterrupted quivering pedal but advises to practice the finger legato first without pedal 22 There are no original pedal marks by Chopin Arrangements Edit Leopold Godowsky s left hand version publ 1909 opening A version for the left hand alone can be found in Leopold Godowsky s 53 Studies on Chopin s Etudes 23 Canadian pianist Marc Andre Hamelin born 1961 describes this most beautiful achievement thus A continuous rapid line of demisemiquavers snakes its way around and through Chopin s melancholic chorale enhancing it without being in the least bit obtrusive 24 Notes and references Edit French edition Paris M Schlesinger June 1833 German edition Leipzig Fr Kistner August 1833 English edition London Wessel amp Co August 1833 Leichtentritt Hugo Die Etuden In Analyse der Chopin schen Klavierwerke Analysis of Chopin s Piano Works Band II Berlin Max Hesses Verlag 1922 p 112 Leichtentritt p 112 Collet Robert Studies Preludes and Impromptus In Frederic Chopin Profiles of the Man and the Musician Ed Alan Walker London Barrie amp Rockliff 1966 p 132 Leichtentritt p 111 See Leichtentritt p 112 Leichtentritt p 115 Leichtentritt p 113 Collet p 132 Leichtentritt p 118 Huneker James The Studies Titanic Experiments In Chopin The Man and His Music New York Charles Scribner s Sons 1900 p 62 Casella Alfredo F Chopin Studi per pianoforte Milano Edizioni Curci 1946 p 38 Cortot Alfred Frederic Chopin 12 Etudes op 10 Edition de travail des oeuvres de Chopin Paris Editions Salabert 1915 p 40 French edition p 25 German edition p 25 English edition p 22 Galston Gottfried Studienbuch Study Book III Abend 3rd Recital Frederic Chopin Berlin Bruno Cassirer 1910 p 31 Ekier Jan ed National Edition Performance Commentary Chopin Etudes Warsaw Polskie Wydawnictwo Muzyczne 1999 p 138 Schumann Robert Die Pianoforte Etuden ihren Zwecken nach geordnet The Pianoforte Etudes Categorized According to their Purposes Neue Zeitschrift fur Musik No 11 February 6 1836 p 46 a b Cortot p 40 Cortot p 44 Godowsky Leopold Studien uber die Etuden von Chopin Berlin Robert Lienau vormals Schlesinger 1903 1914 Hamelin Marc Andre Godowsky s Studies on Chopin s Etudes Liner notes for Godowsky The Complete Studies on Chopin s Etudes Hyperion CDA67411 2 2000 p 17 External links Edit Etude No 6 source source Martha Goldstein playing on an Erard 1851 2 92 MB Problems playing this file See media help Etudes Op 10 Scores at the International Music Score Library Project Chopin Etude Op 10 No 6 played by Alfred Cortot YouTube Chopin Etude Op 10 No 6 played by Claudio Arrau YouTube Chopin Etude Op 10 No 6 played by Vladimir Horowitz YouTube Chopin Etude Op 10 No 6 played by Samson Francois YouTube Chopin Godowsky Op 10 No 6 left hand played by David Saperton 1952 YouTube Chopin Godowsky Op 10 No 6 left hand played by Marc Andre Hamelin YouTube Portal Classical Music Retrieved from https en wikipedia org w index php title Etude Op 10 No 6 Chopin amp oldid 1144711720, wikipedia, wiki, book, books, library,

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