No one before had taken what was thought of as a simple teaching tool designed to overcome a technical difficulty and elevated it to a piece of artistic and emotional expression suitable for public performance. After Chopin the etude was not just a duration of scales and fingerings, it was a recognized form of musical poetry. The instantly recognized Etude in A-flat major, Op. The mazurka, a lively folk dance in triple time, originated in the Mazovia province of northern Poland. Of the dance forms Chopin employed the waltz and polonaise among them , the mazurka was most often used. He wrote at least 50 of them across the entire duration of his career and his progress as a musician can be heard in their variety.

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There is a total of 27 etudes comprising two separate collections of twelve, numbered Opus 10 and Opus 25 and a set of three without an opus number. The etude in A flat major Opus 25 no. Structure Most of the etudes demand a certain level of technical ability and control to expound evocative melodies and sometimes whimsical harmonic structures.

Peculiar fingering which requires the use of weaker fingers in concert to create melodic lines and galloping tempos are among a host of other attributes which give the etudes their unique place in solo piano performance. The technical challenge for this piece is to be able to play the passive harmonisation of the middle voices whilst the left hand periodically introduces polyrhythms. The beautiful melody is played by the fifth finger of the right hand which falls on the first note of each sextuplet with occasional counter-melodies provided by the inner voices.

The key modulates from its home key of A flat major to a brief but beautiful A major section and culminates with an intense climax in the home key. Seemingly bias but most definitely not, I have found all three published interpretations by Lang Lang to be the best for the following reasons:. Sustained legato playing whilst maintaining excellent phrasing for the melodic line.

Creative rubato style which breaks up the monotony of the sextuplets semiquavers throughout the entire piece. Excellent fingering technique enabling passive playing of the middle voices whilst beautifully controlling and presenting a clear and succinct melody. Ah, the header pic piece! Already have the sheet notes. But playing it well really requires practice to accentuate the melody whilst maintaining good legato and passive note playing of inner voices.

Also, I try not to cheat by using too much pedal. Skip to content. Home About Why am I blogging? Chopin Etude in A flat major, Opus 25 no. An excerpt of Chopin's Etude in A flat major, Opus 25 no. This entry was posted in Music and tagged Chopin. Bookmark the permalink. May 2, at pm. Chopinand says:. Hi Kath, I enjoy playing this one immensely. Kath My Funny Little Life says:. May 3, at am. May 3, at pm. Subscribe here. Visit ChopinandMysaucepan's profile on Pinterest. Search for:. Powered by Visitor Maps.

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Études, Op.25 (Chopin, Frédéric)

Etude No. MP3 file audio Dr. PDF scanned by piano. Complete Score Nos. Cello Part Nos. PDF scanned by Monash U. Creative Commons Attribution-NonCommercial 3.


Chopin - Etude in Ab major op.25 no.1 Aeolian Harp sheet music for Piano

The work consists entirely of rapid arpeggios and harmonic modulations based on A-flat major. The left hand introduces polyrhythms from time to time. The principal melody is presented by the right hand on the first note of each group of sextuplets , with occasional counter-melodies provided by the inner voices. The distinctive theme is presented in A-flat major. Through metamorphic modulations to closely related keys, it eventually arrives at a brief episode in the remote key of A major, but culminates with an intense climax in the home key, and a momentary reference to the original thematic material, which flows easily into the coda. Technically, the piece requires both dexterity and velocity, good balance and weighting of the arms.


Chopin Etude in A flat major, Opus 25 no. 1 (Aeolian Harp)



Etude No. 1 in A flat major, Op. 25, “Aeolian Harp”


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