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Burgmüller, Johann Friedrich Franz : 18 Etudes de genre (faisant Suite aux Etudes faciles op. 100) Le Réveil dans les Bois Op.109-12

Work Overview

Music ID : 34165
Instrumentation:Piano Solo 
Genre:etude
Total Playing Time:1 min 10 sec
Copyright:Public Domain

Commentary (2)

Author : Ooi, Kazurou

Last Updated: November 15, 2022
[Open]
Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

This piece depicts a joyful and fresh feeling. The continuous eighth-note repetitions persist from the first measure to the end without interruption. When depicting such a feeling, if the tempo is excessively slow or the eighth notes become heavy, it deviates from the intended depiction. Therefore, maintaining a certain tempo and playing the eighth notes lightly with staccato is essential.

The following discussion assumes that the finger numbers for the left hand's root position chords are 5, 3, and 1 from bottom to top.

At that time, pay attention to the left hand's 5th finger. If you attempt to play too lightly, the left hand's 5th finger, which is responsible for the bass, may become indistinct. The bass note must be heard more prominently than the notes above it; if the bass is thin, the piece itself loses its depth.

It should not be misunderstood that the bass itself must be played forte. Even when playing at pp, the intention is to achieve a 'core' or 'substance' in the pp. This requires robust strength in the 5th finger.

While conventionally both the left and right hands' 1st fingers are the strongest, the left hand's 1st finger often plays the top note of a chord, and the crucial bass note is assigned to the weaker 5th finger, which creates a problem.

Regarding the practice method:

  • Play only the 5th finger of the chord, i.e., only the bass note, with the left hand, and do not play the notes written above it. Play the right hand as usual.
  • The 5th finger, responsible for the bass, should neither be straight nor hyperextended. Both the 1st and 2nd joints must strike in a curved and firm (mountain-like) shape.
  • In this way, practice with only the left hand's 5th finger, for example, accompanying the right hand from measures 5 to 12.
  • Once that is achieved, add the middle note of the left-hand chord (3rd finger).
  • Finally, add the 1st finger and play as written in the score. Ensure that the left hand's bass is clearly audible.

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.

 It's intriguing to wonder about the circumstances that led to awakening "in the forest," but this piece has a very lively and sprightly musical character. It features octave leaps in the right hand and repeated chords in the left, with the roles of the hands reversing from measure 13. Towards the end, it becomes more technically brilliant and powerful, concluding with a sudden, impetuous rush.

* Ikki-kasei: To accomplish something in one go, with a single burst of effort.

Performance Points (Original Tempo ♩=168)

 It goes without saying that the eighth-note subdivisions must be kept even. While agile finger movements are essential for playing staccato, "wrist flexibility" is also a crucial point, as explained in The Merry Maiden. In addition to utilizing the spring action of the wrist to support the key-striking motion, for repeated chords, the primary action involves a flexing and extending movement centered at the wrist, similar to dribbling a basketball. When playing repeated chords, be mindful of the varying lengths of your fingers, ensure consistent key depth, and aim for articulation at the same timing and with the same strength.

(From the To-on Edition Burgmüller 18 Etudes (NS61))

Writer: Sato, Takashi