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Burgmüller, Johann Friedrich Franz : 18 Etudes de genre (faisant Suite aux Etudes faciles op. 100) La Vélocité Op.109-10

Work Overview

Music ID : 34163
Instrumentation:Piano Solo 
Genre:etude
Total Playing Time:1 min 10 sec
Copyright:Public Domain

Commentary (2)

Author : Ooi, Kazurou

Last Updated: November 6, 2022
[Open]
Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

The primary point of caution for this piece is to avoid flat dynamics. In technical pieces, one tends to focus on technique, often neglecting dynamics, and this piece is no exception. Analysis is crucial for determining the dynamics.

Section Breakdown

  • A Section: Bars 1-9
  • B Section B1: Bars 10-17
  • B2: Bars 18-25
  • A Section: Bars 26-29
  • CODA: Bars 30-40

First, in the initial A section, the 8-bar phrase is further divided into two 4-bar sub-phrases: bars 1-4 and bars 5-8 (the second time, bars 5, 6, 7, 9). When comparing bars 1-4 and bars 5-8, which do you perceive as having a greater dynamic level?

From the perspective of physical pitch, in bars 1-4, the right hand reaches a high G in bar 3. One could argue that this section is louder. On the other hand, bars 5-8 attempt to modulate to G major, suggesting higher tension in that section. While either interpretation is acceptable, it is imperative to differentiate the dynamics between these two phrases.

Furthermore, in both phrases, bar 3 reaches the peak point, followed by a diminuendo. Please consider this discussion within the context of maintaining that dynamic order.

Now, the B1 section can also be divided into two parts: bars 10-13 and bars 14-17. In this case, which do you perceive as being volumetrically larger? The author finds bars 14-17 to feel louder due to the shift to the minor key, but again, either approach is acceptable. Here too, ensure that these two phrases differ dynamically.

The B2 section does not divide into two. A crescendo should be applied towards bar 22, which the author believes is likely the loudest part of the piece. Once bar 22 is reached, gradually decrease the volume.

Writer: Ooi, Kazurou

Author : Sato, Takashi

Last Updated: January 31, 2022
[Open]
Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

As the title suggests, this is an extremely technical, “etude-like” etude. The light right-hand passages are reminiscent of Weber’s Perpetuum Mobile. The harmonic climax occurs when the piece modulates to A-flat major in measure 17, which then transforms into an augmented sixth chord in measure 20, resolving to a I6/4 (second inversion) in measure 21. It is effective to slightly hold back the tempo until measure 20, then release it suddenly in measure 21.

Performance Points (Original Tempo: Dotted Quarter Note = 104)

 While agile right-hand fingering certainly requires sufficient finger independence and support from the wrist and forearm, what is often overlooked and greatly influences the success of this piece is the left-hand staccato. Specifically, control your hand shape to ensure stable and even playing, preventing the 5th finger's attack from becoming heavy. The repeated chords from measure 9 should be played with an even shorter staccato, lightly and without rushing. Be careful not to place an accent on every strong beat in the right hand. In measures 10 and 14, at the end of the right-hand figure, firmly striking with the 1st finger will allow for clean leaps.

(From To-on Edition “Burgmüller 18 Etudes” (NS61))

Writer: Sato, Takashi