 | Chopin, Frédéric - Étude in Gb Major for Piano Op. 10 No. 5 Piano seul |
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| Compositeur : | Chopin, Frédéric (1810 - 1849) | ||||
| Instrumentation : | Piano seul4 autres versions | ||||
| Genre : | Classique | ||||
| Tonalité : | Sol♭ majeur | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Date : | 1829-32 | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 16 Janv 2019 Frédéric François Chopin (1810 – 1849) was a Polish composer and virtuoso pianist of the Romantic era who wrote primarily for solo piano. He has maintained worldwide renown as a leading musician of his era, one whose "poetic genius was based on a professional technique that was without equal in his generation." Étude Op. 10, No. 5 in G♭ major is a study for solo piano composed by Frédéric Chopin in 1830. It was first published in 1833 in France, Germany, and England as the fifth piece of his Études Op. 10. This work is characterized by the rapid triplet figuration played by the right hand exclusively on black keys. This melodic figuration is accompanied by the left hand in staccato chords and octaves. Like all of Chopin's other études, this work is in ternary form ABA. The two eight-bar periods of the A section are characterized by frequent dynamic contrasts. Each reentry of the first bar, occurring every four bars, is marked by a forte, followed in the second bar by a piano restatement in a lower register. This capricious:106 opening in the tonic is replied by an upward movement and a syncopated accompaniment in the third and fourth bar. This pattern is repeated four times. The harmonic scheme of the A section is relatively simple, featuring tonic (first two bars) versus dominant (third and fourth bars), but the consequent of the first period shifts to |music|B♭ major (poco rallentando, pp), while the consequent of the second one modulates to the dominant key D♭ major. D♭ major is also the key of the middle section which is exactly twice as long as the A section. Its 32 bars though do not subdivide into four eight-bar periods but into sections of (4 + 2) + 4 + 2 + 4 + 8 + 8 bars with six motivically distinct modifications of the original semiquaver triplet figure, thus offering an attractive break from the symmetry. An effective dynamic increase begins in bar 23 but does not end in a climax as the crescendo does not lead to fortissimo but eases off in diminuendos (bars 36 and 40). Harmonically the section (bars 23–41) may be interpreted as an extended and ornamented D♭ major cadence. Musicologist Hugo Leichtentritt (1874–1951) compares the left hand of bars 33–48 to horn signals. These "announce" the recapitulation of the A part which begins as a literal restatement in bar 49, seems to approach a climax and eases off with a sudden delicatissimo pianissimo smorzando passage, leading via a cadence to the coda. The coda consists of two periods, the last one stretched by three bars. The first one is a restatement of the middle section's opening transposed to the tonic G♭ major. The consequent of the second period contains a brilliantly swooshing, widely positioned arpeggio for both hands (bars 79(83) and is pianistically attractive. Its effect is based on the accent enforced by a third at the beginning of each triplet, as well as on the tenth and eleventh stretches of the left hand and the ascending bass line covering the entire range of the keyboard.:109 The piece ends with a rapid octave passage, ff and staccato, played by both hands on black keys, in a G♭ major pentatonic scale. Some prominent performers, including Horowitz and Rosenthal, choose to perform the final octave passage glissando. Source: Wikipedia (https://en.wikipedia.org/wiki/%C3%89tude_Op._10,_No._5 _(Chopin) ). I created this Transcription of the Étude in G♭ Major (Op. 10 No. 5) for Piano. Partition centrale : | No. 5: Etude en Sol bémol majeur, Black Key (6 partitions) | | |||
