Classical Music | Piano Music

Frédéric Chopin

Etude Op. 10, No. 1 in C Major  Play

Alexander Wasserman Piano

Recorded on 11/08/2008, uploaded on 03/08/2010

Musician's or Publisher's Notes

Chopin’s first collection of études, published in 1833 as his opus 10, was a turning point in the development of piano technique. Extensive sets of exercises had been commonplace since the latter part of the 18th century with the most notable collections being composed by Muzio Clementi, J.B. Cramer and Carl Czerny. However, these pieces were exactly that: exercises—didactic compositions and nothing more. Chopin’s études, on the other hand, not only introduced new technical challenges to the performer but also elevated the form from a technical study to an artistic composition. For this reason, several of the études have become permanent fixtures in the concert repertoire as legitimate pieces of music. Furthermore, Chopin set the stage for other similar pieces by other composers. Franz Liszt was influenced by them in the composition of his own series of études and, later on, Johannes Brahms achieved a similar fusion of technique and artistry in his challenging Variations on a Theme of Paganini, op. 35.

Comprised of twelve études, opus 10 was composed during the years of 1829-33. This accentuates the technical challenges of the études because of Chopin’s young age. During these years, Chopin left his native Poland and travelled to Vienna. Shortly after arriving in the Austrian capital, news reached him and his friend, Tytus Woyciechowski, of the November Uprising. Woyciechowski returned to Poland, leaving Chopin in Vienna alone. Unable to adapt to Viennese society, he left for Paris arriving there in September 1831. En route to Paris, he learned of Poland’s humiliating defeat to Imperial Russia. It is believed that Chopin’s reaction to this news lead to the composition of the famous “Revolutionary” étude that concludes the opus 10 set. When published in 1833, the études were dedicated to Franz Liszt, whom Chopin had met in Paris. Like his preludes, the études have also acquired epithets, no doubt invented by others and of which Chopin likely did not approve.

The twelve études cover a broad spectrum of the pianist’s technique but all hold one trait in common: the development of a legato playing style, which Chopin considered to be crux of the pianist’s technique. For example, the first étude in C major demands this style while executing arpeggios in the right hand, many spanning more than an octave while the following etude in A minor develops the weak fingers of the same hand with a persistent chromatic scale also in a legato style. In E major, the third étude contains what Chopin considered his greatest melody. Drastically different from his other études, it is slow, demanding more in terms of expression than technique. Likewise, the sixth etude also proceeds at a somewhat slower pace (marked Andante) and focuses on the ability to perform and differentiate between two expressive melodies simultaneously. The remaining études, of which the “Revolutionary” is one, are exceedingly virtuosic, proceeding at quick tempos and demanding near superhuman abilities of the pianist.      Joseph DuBose

Listeners' Comments        (You have to be logged in to leave comments)

Clearly the pianist is technically proficient. However like many technically proficient Jazz pianist, he seems to revel in the speed at which he can play this master piece. While it is indeed meant to be played at a fast clip, one would like to hear it a tad slower in order to pick out the individual notes (i.e. more enunciation). That is a minor complaint. My harsher complaint has to do with the "grounding" octave notes at the beginning of each arpeggio run up and down the keyboard. In my opinion, they stand out, by not to the extent that this pianist seems to hammer them. It's analogous to the "heavy thumb" of many pianists (including myself) -- that when coming back to the beginning/end of the phrase he strikes the octave (the first being a 2 C's an octave apart) extremely loudly. While they should be louder certainly than the arpeggio runs by the right hand, they do not need to be as loud as the pianist plays them in this recording. It's generally a sign of weakness when a pianist feels the need to overly accent the beginning?end of a phrase in order to "signal" to the listener that he "made it there in time." That aspect of this recording, for me, separated it from a recording by a truly great classical pianist who isn't the slightest bit worried about getting back "home" (the bottom octave two notes played by the left hand) "in time." Just my opinion of course. I think with a little practice and slowing the pace down a tad (there's really no reason it needs to whiz by *that* quickly especially given the magnificence of the piece) this pianist could do a much better job next time around.

There's no doubt that this is an extremely hard piece to play -- I've struggled with it many times over years. So I only gingerly put forward my criticism. But I would really recommend he slow it down a bit in order to focus on a more nuanced performance. right now it's played so fast it leaves me breathless! And remember these etudes are not *merely* technical pieces, but exercises in technique AND "emotion." (if you will)

Submitted by danielremler on Tue, 03/09/2010 - 21:18. Report abuse