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

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

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Work Overview

Music ID : 34171

Instrumentation：Piano Solo　
Genre：etude
Total Playing Time：1 min 30 sec
Copyright：Public Domain

etude

Piano Solo

piano solo

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.

One often gets caught up in the right hand's triplet sixteenth notes and neglects the important melody line; however, let's also consider the crucial melody line. The melody line appearing in the right hand in measures 1-2, written in quarter notes, is A A B B A D F#. Try playing this A A B B A D F# as a single melodic line. At least, when playing A A B B A, you wouldn't accent the final A, would you? Consider that the next A is slightly louder than the first A, the following B is louder than that, the second B is even louder, and then it softens on the next A. From there, you would likely crescendo on D F#, but at least on the A in measure 2, beat 1, you should relax the tension.

When playing the right hand's triplet sixteenth notes together, one tends to get distracted, and the A A B B A D F# line often becomes dynamically flat. Let's pay attention to such details. The melody line will be treated similarly hereafter.

In measure 4, beat 4, the chord becomes G# B D F, with only C# being a non-chord tone. This C# creates a dissonance with the following D (the dissonance is noticeable due to the rallentando); therefore, those who are concerned should avoid this C# lingering by changing the pedal or using finger pedaling.

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.

A "Spinning Song" is a perpetuum mobile-like piece that repeats a constant, mechanical motion, much like the rotation of a spinning wheel. It originated from Schubert's Lied "Gretchen am Spinnrade," and examples in piano music include pieces by Elmenreich, familiar to learners, and Mendelssohn's Song Without Words (Op. 67-4). This piece, which uses arpeggiated motion as its motif, is a particularly elegant and refined "Spinning Song." It is also a culminating piece, featuring various techniques learned in previous etudes.

Performance Points (Original Tempo ♩=112)

Initially, the quarter notes on the beat in the right hand form the melody, while the intricate triplet figures are treated as ornamentation. However, with a crescendo from the third beat of measure 2, they suddenly take center stage and descend gracefully from the peak. It is important to naturally align this arc-like line with the dynamics. Keep the wrist flexible, but primarily focus on lateral (side-to-side) motion rather than up-and-down. The climax is the borrowed dominant of the VI degree in measure 14. When repeating, try varying the performance between the first and second times. The chords on beats 2 and 4 in the left hand should be light. The ending is rapidamente (rapidly), concluding with a sudden upward rush.

(To-on Edition "Burgmüller 18 Etudes" (NS61))

Writer: Sato, Takashi