Classical Corner: Chopin's Études, Op. 10

Frédéric Chopin's études are so consistently masterful that I will need to devote this edition of Classical Corner to his first set of twelve études (Opus 10), and make another post for his second set of twelve (Opus 25).  In the most literal sense, an étude (which is French for 'study') is a piece intended as an exercise, to help the musician develop some kind of technique.  It is then no surprise that many of Chopin's études are very difficult to play.  However, while some other composers may have sacrificed musicality in order to emphasize technique (resulting in a somewhat boring end product), Chopin actually uses the difficult techniques to increase the musicality of his pieces.  Many of these pieces have become very popular in the piano repertoire, and have even taken on well-known nicknames despite the fact that Chopin did not himself nickname his music.  This is just a testament to how well the music speaks to the listener - that the composer did not need to tell people what it should sound like, yet listeners were able to understand.

The wavier the hair, the better the music

For purposes of shortening this entry, I will focus on four representative examples of great pieces from this set of 'Douze grandes études.'  Every single piece in the opus is great, though, and all of them are really different.  In other words, the entire set of études is worth a listen after you hear these four.

*****

First, let's dispel the notion that all the études are really fast, technical, blurs of notes.  Many of them are indeed very fast, but Op. 10, No. 3 shows that there are other technical skills to be learned other than playing fast.

Étude, Op. 10, No. 3 (Pianist: Sviatoslav Richter)

In this case, the emphasis is on musicality - on phrasing a melody that is played primarily with the pinky of the right hand.  The middle portion has an increased passion and has some moderately technical passages, but once again, the focus is on shaping the melody.  In a way, this skill is required in even the most basic of pieces, but Chopin's piece emphasizes the skill enough to warrant the title of 'étude.'  Additionally, this piece comes after two études that emphasize speed and dexterity in the right hand, so for the pianist playing all the études in order, this piece welcomes a nice contrast (and of course a bit of rest).

*****

Op. 10, No. 4 is probably my favorite of the set, and one reason for this is the diverse set of interpretations.  Some pianists prefer a steadier pace, while others - like Vladimir Horowitz - instead opt for a more chaotic interpretation.

Étude, Op. 10, No. 4 (Pianist: Vladimir Horowitz)

This étude exercises dexterity in both hands, with fast runs being traded between both hands.  Thus, the piece is difficult to execute well because both hands need to play with an equal speed, dynamic, and articulation.  Speaking of dynamics, the way this piece builds up and down is amazing - and it is because of both the writing and the performance.  Immediately, images of a thunderstorm come to mind when listening to this piece.

Every time someone plays this piece, a thunderstorm starts somewhere else

*****

The 'Black Key' Étude (Op. 10, No. 5) is one of the most popular of Chopin's études from both a listener's and a piano player's perspective.  For the listener, it's a great piece that is quick but not violent - in fact, it can be quite delicate, depending on the performer.  For the pianist, it's typically among the first Chopin études one learns, perhaps because it sounds a lot more difficult than it really is.  Sadly, this makes the piece all the more popular to play poorly, and more often than not, a non-professional will blaze through the piece very loud and without much musicality.

'Black Key' Étude, Op. 10, No. 5 (Pianist: Maurizio Pollini)

Fortunately for Maurizio Pollini, he has a reputation for very delicate playing and it works perfectly in this piece.  Now you ask - why is this piece nicknamed the 'Black Key' Étude?  As you might guess, it has to do with most of the notes being played on the black keys of the piano.  In fact, every single note on the right hand except for one is on a black key (and I sometimes wonder why Chopin decided to add that single white key).  I think this is the reason the étude is rather easy despite its high speed.  The black keys are raised up and have nice gaps between them.  This means you never accidentally hit the wrong note.  Additionally, you don't need to move your hand into the awkward configurations that's sometimes found in the other études (for example, Op. 10, No. 2).  Actually, I don't think you need to ever cross your fingers under each other on the right hand.  Anyway, this means the focus can be on velocity, which is exactly what the piece exercises.

The white keys are made of lava!

*****

Also among Chopin's most famous études is the 'Revolutionary' Étude (Op. 10, No. 12).  What a perfect nickname (again, one not ascribed by Chopin himself).  This piece is incredibly difficult to play nicely, and I myself am guilty of using too much pedal to make the piece easier but much worse-sounding.

'Revolutionary' Étude, Op. 10, No. 12 (Pianist: Vladimir Ashkenazy)

The fast, sweeping runs are now in the left hand, with the right hand playing a very powerful melody.  This is another piece that has so many different interpretations.  I personally prefer the cleaner, more traditional ones, which barely use the pedal and don't overdo the rubato (which is changing the tempo to convey emotion).  Well, I do like rubato towards the end, but not throughout the whole piece.  Since the runs are in the left hand, the melody (on the right hand) is easier to follow, and so one can basically sing along.  This makes the piece more memorable - hence its popularity.

I bet this tune was on their iPods at the time

I should note, though, that singable melodies are not required of music - I believe music is a multilayered medium, and that in the case of Chopin's Études, the music is largely used to paint images and convey emotions.  There is much value to those tunes that you can hum while you're walking, but I'd easily prefer a piece of music you can lose yourself in.  Of course, this is just a personal opinion - and it's reflected in my preference of romantic-era music over classical-era music.

*****

Of the remaining eight études in the set, some other ones I really like are:

• Op. 10, No. 1 - a grand introduction with huge, sweeping arpeggios
• Op. 10, No. 2 - a melody that sounds like scurrying mice, played using only the last three fingers of the right hand
• Op. 10, No. 8 - a light, fast tune that evokes images of birds fluttering
• Op. 10, No. 9 - an articulated, longing melody over a flowing bass

While some of the études are better than others, I can wholeheartedly recommend every single one of Chopin's études (in this set, in Op. 25, and from the "Trois nouvelles études").  In addition, note that each étude is its own piece, but this set as well as the Op. 25 set sound especially great when all played in order, like a music album.  A particularly great transition is in between the delicate ending of Op. 10, No. 3 to the sudden power of Op. 10, No. 4.  The whole product is not as unified as a multi-movement piece like a symphony or a sonata, but it somehow sounds cohesive.

*****

Stay tuned for the Chopin Études, Op. 25 edition of Classical Corner, which will likely but not necessarily be the next entry in this series.