25 Etudes faciles et progressives, conposées et doigtées expressément pour l'étendue des petites mains La chasse Op.100-9 - Burgmüller, Johann Friedrich Franz

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Burgmüller, Johann Friedrich Franz : 25 Etudes faciles et progressives, conposées et doigtées expressément pour l'étendue des petites mains　La chasse Op.100-9

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Work Overview

Music ID : 20810

Instrumentation：Piano Solo　
Genre：etude
Total Playing Time：1 min 00 sec
Copyright：Public Domain
Additional Notes：表記ゆれの例：　狩　狩猟　狩の歌

etude

Piano Solo

piano solo

Commentary (3)

Author : Sato, Takashi

Last Updated: January 31, 2022

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Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

The concept of "the hunt" may not resonate much with us today, but for people in the 19th century, it was a familiar leisure activity and a place where nature and humans intersected. The chords in the introduction and the double stops in the left hand from measure 5 imitate the "hunting horn" used to signal companions during a hunt. Does the forte at measure 5 represent the player's own horn, and the piano at measure 9 a companion's horn from across the mountain? It is important to emphasize the change in character between the lively main section and the minor-key episodic sections.

Performance Points (Original Tempo ♩.=132)

In the introduction, ensure that the eighth note anacrusis is not accented. Play rhythmically, being mindful of the strong and weak beats. For the horn chords and double stops, always play the upper voice stronger, maintaining good balance. Be especially careful as balance tends to be lost when playing piano. Two minor-key episodes are inserted: the first (from measure 13) is in the parallel minor (C minor), and the second (from measure 29) is in the relative minor (A minor). What kind of expression does each possess?

(From To-on Edition "Burgmüller 25 Etudes" (NS70))

Writer: Sato, Takashi

Author : Iida, Arisa

Last Updated: March 15, 2018

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Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

Musical example provided by: Ongaku no Tomo Sha

Writer: Iida, Arisa

Author : Ooi, Kazurou

Last Updated: January 31, 2019

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Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

Adhere to the opening tempo marking, Allegro Vivace. This implies fast and lively. While subjective, there is no reason for the atmosphere of this piece to be ruined by being too slow. The Zen-On edition indicates a metronome marking of dotted quarter note = 132, but I personally believe around 146 might be more appropriate. Please try it out.

Now, let's summarize other points to note. The left-hand melody, starting from bar 5, depicts a horn. For instance, Franz Liszt's 'La Chasse' from the Grandes Études de Paganini also begins with a theme depicting a horn. Therefore, I believe a balance of forte for the left hand and piano (p) or pianissimo (pp) for the right hand would be appropriate.

Regarding the right hand at that point, the fingering is written as 512 512 (Zen-On edition). I personally find 511 511 much easier. Please discuss with your students and decide. Using 511 will not have any negative effects.

Although staccato is marked in the right hand, the pedal should be applied on each beat to connect the left-hand melody. In this section, bar 8 is the only measure where the pedal can be omitted. Without the pedal, it becomes difficult to connect the left-hand line smoothly.

From bar 13, in the C minor section, the roles of the right and left hands switch, with the right hand taking the melody. Therefore, balance should be achieved with the right hand playing mezzo forte and the left hand around piano (p).

In the A minor section starting from bar 29, no pedal is required until bar 36. Of course, you may use it, but the notes can be sufficiently connected without it.

Writer: Ooi, Kazurou