Étude Op. 25, No. 11 (Chopin)
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Étude Op. 25, No. 11 (or 'Winter Wind') is a solo piano work composed by Frédéric Chopin in 1836. It was first published along with the other études in opus 25 in 1837, in France, Germany, and England. The first French edition indicates a common time time signature, but the manuscript and the first German edition both feature cut time.[1] The first four measures that characterize the melody were added just before publication at the advice of Charles A. Hoffmann, a friend.[2]
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[edit] Structure
The Winter Wind is an étude for developing stamina, dexterity, and technique - essential skills for any concert pianist. The étude begins with a piano introduction of the main melody. The first theme follows, consisting of tumultuous cascades of semiquaver-tuplets and a leaping figure for the left hand. The second theme is a brief respite in the relative major, C major, which shortly segues into a repetition of the first theme. The étude finishes with a short development into a fortissimo coda, and ends with one final statement of the theme.
[edit] Technique
As an étude stands, the Winter Wind is an epic study of right hand dexterity and left hand flexibility. Both hands play an important role throughout the piece; the melody is sung through the heavy left hand, and the right hand contributes the étude's namesake with rapid scales and arpeggios. This study must be navigated with polyphonic mindset, treating both hands as separate melodies that work together, in a duet for one performer.
One dissertation stresses the importance of implied melodic structure throughout the right-hand figures. Meaning, the following passage (measure 10, 11):
Should be played thus:
accentuating those notes indicated by additional quaver tails. This serves to emphasize the underlying quartal rhythm to further accentuate the march-like theme of the left-hand.[2] Although this analysis may be sound, the performance of this without the aforementioned implications detracts nothing from the rhythmic undulations of the chromatic scales. Abby Whiteside agreed with this subdivision, calling them "tonal patterns which have to be solved before this Etude is playable."[3] Citing her usual procedures of promoting arm strength, she emphasized two key points exemplified by this étude: "notewise procedure does not further bravura playing" and "finger technique is simply not adequate for brilliance and speed." Her dissertation states that this work is impossible without the aforementioned subdivision, and simultaneously advocates her arm technique.[3]
[edit] Notes
[edit] External links
- The Ultimate Chopin Etudes Discography from Eternal Chopin Etudes Space
- Study Guide, Recordings and Sheet Music from Chopin Music
- Études Op. 25 was available at the International Music Score Library Project.
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