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Ballade No.1, Op.23 Chopin, Fr
Scherzo No.2, Op.31 Chopin, Fr
Hi guys! I have a wonder for you a close video tutorial focused on Chopin s Fantaisie-Impromptu in C Minor, op. posth. 66 a piece for your advanced level, accessible after aprox. 7-8 numerous years of serious piano practice.
Analysis a really detailed written article where we are going to analyze the history/genre/form/dramaturgy/texture etc. from the Fantaisie-Impromptu, allowing an individual a better perception of its artistic concept and main expressive/technical tasks.
Video Practice Guide a super-detailed, step-by-step practice demonstration, comprising two videos:
Part I: Practicing the Exposition available here on ;
Part II: Practicing the guts section plus the Coda available only from the Members Area of !.
The written analysis is HUGE a massive article form diagrams, a lot of score examples etc. For your browsing comfort, I used a bit programming trick pianists may be tech-savvy too LOL: select the link below, and also the entire analysis look underneath it; then click it again, plus the analysis will probably be hidden so that within the future you may go right to the video, without needing to browse a lot of pages of text!
This detailed analysis will let you have an even better understanding in the artistic concept and main expressive/technical tasks encoded in today s piece.
As always, we shall analyze the history/genre/form/dramaturgy/texture along with important elements with the Fantaisie-Impromptu in your attempt of deciphering its message as clearly as is possible so bear when camping, I ll attempt to make the musicological ordeal as easy-to-comprehend, exciting and useful as you can!
Don t hesitate to listen for Yundi Li s recording, together with the score prior to you:
Now that you possess a good audible picture of the piece, let s continue our analysis:
Op. 29: Impromptu No. one inch A-flat major 1837
Op. 36: Impromptu No. 2 in F-sharp major 1839
Op. 51: Impromptu No. 3 in G-flat major 1843
Op. posth. 66: Fantaisie-Impromptu in C-sharp minor 1834
Chronologically the primary of Chopin s Impromptus, the Fantaisie-Impromptu was published posthumously only as soon as the composer s death in 1855 by Julius Fontana, who added the title Fantaisie to your original Impromptu.
In music, an Impromptu can be a composition using the character of the improvisation just as if prompted from the spirit with the moment, inside a relatively free style, usually for just a solo instrument for instance piano.
This term started be used being a title for musical works within the early 1800s resonating very well using the spirit with the romantic era, dedicated to freedom of expression.
Even the Impromptu being a musical genre is meant to possess a free form - everything is obviously significantly less easy. This genre appeared in the confluence of classicism and romanticism, inside period of transition through the epoch of symmetry and rigid rules towards the one of relative freedom of expression therefore, it helped composers for taking another breakthrough towards flexibility of expression and finished freedom was out in the question for the time.
For this reason, most Impromptus possess a pre-defined form the same as other romantic genres usually ternary ABA, with faster outer sections along with a slower lyrical middle section.
Franz Schubert published two teams of 4 Impromptus for piano op. 90 and op. 142. After his death 3 more unnamed piano compositions Klavierstucke were sometimes named Impromptus.
Robert Schumann wrote several Impromptus, published as op. 5.
Franz Liszt composed an Impromptu in F sharp sometimes called Nocturne along with a piano piece named Valse-Impromptu.
Alexander Scriabin might have written at the very least 9 Impromptus for piano within his early period.
Even however the Fantaisie-Impromptu is considered one of Chopin s most inspired and famous! works, musicologists agree that it hadn't been intended from the composer for publication. There are several possible factors that cause this decision:
a tempo/texture/form similarity together with the Impromptu in Eb Major by Ignaz Moscheles 1794-1870, Bohemian composer and piano virtuoso;
a melodic/tonal similarity together with the 3rd movement from Beethoven s Moonlight Sonata;
this piece could have been originally sold towards the Baroness d Este, who simply needed to have it as her exclusive property.
One way or some other, we're also very lucky nowadays until this Fantasy through an improvisational character the literal meaning in the title was discovered and published by Fontana and now we can appreciate, practice and perform it! Despite the similarities already stated which will not be even noticeable on the naked eye from the non-musicologist LOL, this work is often a masterpiece of your great artistic value, offering a wonderful aesthetic experience both on the listener and also the performer.
Reprise the identical repeat with the Exposition bars 83-118;
As it is possible to see, each part will be based upon two main Themes, and every Theme possesses his own section too big to get called a sentence, and infrequently formed of various musical ideas.
On a micro-level, the part of each Theme could be divided into two, 3 or 4 4-bar phrases what are the building blocks on the entire piece.
Here would be the micro-structure with the Exposition please notes the increasingly amount of phrases when we approach the end on the Exposition, where we've got the culmination from the first part with the piece:
Also, forever keep in mind that musical thoughts are flexible entities particularly romantic music so in identifying their exact edges, don t stick to the 4-bar model blindly instead, give your hearing and also your musical understanding to look for that logical beginning, destination and ending of each one idea noticing that many of them begin by having an anacrusis, others about the strong beat on the bar etc.
The tempo and character indication to the Exposition is extremely suggestive: Allegro agitato fast, using a restless character.
For the introductory bars with the middle section we've the indication Largo pesante very slowly, with emphasis, so the tempo changes to Moderato cantabile moderately, within a singing manner once the beautiful RH melody appears.
The tempo in the Reprise is in fact the subject of just a little controversy: in certain editions, the tempo would be the same as inside the beginning Allegro agitato, during others, we come across the indication Presto really quick. Both tempo options make sense on the point of view of dramaturgy: whenever we choose the very first version, we return home, to your same character we had within the beginning; whenever we opt to the 2nd version, we make main idea to your whole new level along with the initial restlessness associated by many performers and teachers with agitated gusts of wind grows in a more powerful storm that leads towards the closure from the Coda.
The Exposition and Reprise are developed in alla breve a C that has a vertical line through in addition, it called cut time or cut common time ; alla breve would be the equivalent of 2/2 along with the only difference with all the 4/4 C time signature is from the way we perceive the pulse with the music: rather than thinking in 4, we believe in 2 having only 2 main beats per bar, one per half note.
The middle section is developed in common time 4/4.
Both time signatures have become suggestive alla brave being very ideal for creating the illusion to move and impetuous horizontal development, and 4/4 matching the calmer flow in the middle section.
The Exposition and Reprise using a darker atmosphere having a restless character are printed in C Minor, even though the luminous middle section inside enharmonic Major equivalent with the main tonality Db Major.
Introduction : the piece begins resolutely, which has a powerful bell-like G octave the dominant step of C Minor, sf. This octave seems like a challenge and opens the door with the music that s on the verge of begin. The pulse on the piece is set because of the next 2 bars, the place that the LH accompaniment printed in sextuplets, having a relatively wide pattern that needs good wrist navigation begins the swirl to move, piano, also introducing the minor mode as well as the restless character.
The Main Theme appears being a new layer on top on this foundation: we have an intricate pattern with 16th notes that reminds us associated with an Etude but only at first! Once we hear this Theme, it instantly conquers us having its power of expression, and its particular melodic potential will not be diminished by its figurative structure I hope you don t mind the musicological language, couldn t make a choice LOL.
Chopin is really a masterful by using cross-rhythms for creating the sense of forward movement, animation and impetuosity: about the sextuplet foundation from the LH, the RH plays within a duple meter and even though we now have only 2 beats per bar, it s much simpler to overcome this coordination challenge by imagining we play 3 on 4, not 6 on 8. In other words, our hands will meet for the beginning of each and every quarter note more details inside practice guide!.
As you'll see during your practice, each separate layer the LH along with the RH is just not very difficult when played without treatment but their combination results within a special technical/expressive richness the illusion that we've got an avalanche of notes!. In other words, this piece sounds tougher and impressive and faster! laptop or computer really is that's always awesome!
The music from the Exposition continues to be compared by many pianists which has a windy night : it s super easy to imagine the gusts of wind lifting the fallen leaves in the ground, gaining power and raising higher and better with each new phrase. We could also imagine ocean waves within a windy night raising in order to meet the moon and after that falling back, each new wave which consists of unique height and intensity, however belonging to your general pattern of movement in the entire ocean in musical terms, every person phrase is surely an inseparable part from the bigger dramaturgy in the piece.
If we don't forget this wave or leaf swirl metaphor, it are going to be much easier to make convincing micro- and macro- dynamics all things considered, over a dynamic level, a phrase is just a wave using a beginning, culmination and ending.
The Main Theme begins softly piano, such as a whisper, along with the first phrase is made of three consecutive steps: first seek to rise bar 5, second attempt bar 6, and lastly the successful wave which has a complete rise-and-fall pattern bars 6-7. These rises and falls have for being reflected in this micro-dynamics along with the crescendo and diminuendo indications in the score have to become followed with great care! The higher a passage rises, the higher should be the dynamic increase.
The 2nd phrase from the Main Theme rises even higher on the culmination in this section, and after that falls down only for just a second, simultaneously preparing the appearance from the Secondary Theme.
The Secondary Theme bars 13-24 brings one more layer for the already dizzying texture on the Exposition along with a voicing challenge ! Until now, it wasn t extremely tough to conserve a good sound balance RH brighter compared to the LH but you start with bar 13 we have now two voices inside RH:
in bars 13-16, the melody is in the guts register being played using the thumb and yes it has to get properly voiced and emphasized, being much deeper compared to the surrounding 16th notes that are part from the accompaniment, and forming one uninterrupted melodic line:
in bars 17-22, the melody moves towards the higher register being played while using 5th finger and emphasizing it properly is tougher, for three reasons:
1 the 5th finger is weaker compared to thumb making is harder to channel the complete weight from the arm;
2 the primary dynamic intensity is piano here, so we've got to produce a clear differentiation of sound intensity in 3 layers LH accomp RH accomp melody inside limits of the soft sonority and so the available dynamic range isn't very wide from pp for an approx. mp ;
3 the leading notes appear for the second 16th note of each and every 4-note group, therefore which has a syncopated pattern:
We ll obviously learn how to beat this voicing challenge within the video below!
The section with the Secondary Theme begins in E Major the parallel of C Minor along with the change of harmonic color is reflected inside the dynamics bar 13 begins forte.
The 2nd phrase in the Secondary Theme in which the melody migrates towards the higher register begins piano, such as an echo on the first phrase the primary two bars of such phrases offer a similar experience, then again the atmosphere changes suddenly, and a really powerful and abrupt crescendo takes us on the culmination on this section in bar 19, where we now have forte again. We make an extremely gradual diminuendo within the following 3 bars in bar 21 we start by getting the 3rd phrase with this section, still emphasizing the top voice. The 2nd half in the 3rd phrase seems like an echo on the first half we've pianissimo, which bars 23-24 have to get played using a new sound color more delicate and shy, emphasizing the fewer voice just somewhat. A little ritenuto prepares the appearance from the Main Theme in bar 25.
This dramaturgy can be quite expressive so we can imagine many metaphors and storylines behind this music. I will share one which first relates to my mind and you'll be able to and should! also invent your personal!
So, metaphorically speaking, the section on the Secondary Theme brings a modification of attitude. If until recently we were the passive observers in the gusts of wind/swirling leaves/ocean waves, mentally surfing these waves, exploring their sadness however, not daring to interfere now we begin to look at action and now we do it in a really colorful way LOL: filled up with hope, we light a flame within the dark bars 13-16 and now we race forward, carrying this flame looking to escape the dizzying swirl on the leaves. Here it is possible to also that is amazing you re riding a horse from the night, torch available, hair and robes flowing inside the wind, gloomy treetops closing over your head, fearlessly galloping towards a luminous destination sometimes I wonder if I missed my vocation to be a romance novel author LOL.
In bar 17 a bright memory allows you to reduce your speed a bit as we play in the melody piano however we resume our frantic race again, enhancing the speed all the more forte in bar 19 hoping to maintain this enthusiasm, to help keep the flame from dying down but our strength gradually wilts away bars 20-22. We look around, not willing to quit, but there s nowhere to look, and we have been forced to accept the impracticality of our attempt to be a shy echo in our initial bravery still lingers from the air, bars 23-24 I hope you re having a great time reading this I know I am enjoying penning this story behind the songs !
Main Theme, Development and Culmination bars 25-40. Our inner tension diminishes more ritenuto in bar 24 once we return to your place we started the restless and hopeless gusts of wind, following with the eyes their futile attempt of escaping the swirling circle to move the return on the Main Theme, bars 25-28.
However, our little adventure on the Secondary section taught us to consider outside the box, gave us a different perspective on life making us believe inside our own powers and as an alternative to taking precisely the same path and repeating the second phrase in the Main Theme, we start exploring new territories again: these times, we dare to change the swirl itself, and beginning from bar 29 we've got an impetuous development in the melodic pattern on the main Theme bars 29-34 along with an impressive crescendo before very end with this section instead from the wave rounded dynamic curve. This development is incredibly cleverly written, plus the melodic pattern composed of a short trill as well as an ascending arpeggio-like figuration seems to get climbing gradually ascending steps with each half bar:
This rebellion resistant to the unfairness on the situation reaches the dramatic lamentations from bars 33-34 two abrupt melodic rises then a chromatic descent, culminating using a desperate cry, because the melodic line is unexpectedly interrupted from the powerful C Minor cadence chord, forte bar 35; the chord is and then a descending chromatic scale that looks like an angry blast of wind bars 35-36. This could be the culmination with the entire Exposition, the climax with the entire emotional build-up there were until here, the whole manifestation on the raging storm and it also continues which has a series of lightning strikes bars 37-40, a vigurous descending sequence of octaves for the steps on the C Minor triad chord, with 16th note figurations inside the RH that will let your inner virtuoso to search wild:
The RH figurations using this passage are certainly not difficult once you understand their logic along with the underlying hand positions: we have a very descending sequence of 4-note patterns, every one is basically a broken octave preceded by two notes in the guts with a stabilizing function more practice tips inside video!.
Also, don t miss ab muscles expressive LH octave melody in bars 39-40 its sinuous movement with half tones allows us to to gradually limit the impetuous pace along with the emotional turmoil, the ritenuto in bar 40 allows the songs to transform without the major breaks and also the sonorous introductory arpeggios with the middle section Largo apparently rise victoriously, just like the sun, out with the tormented waters with the pre-dawn ocean.
The change of harmony the luminous Db Major replaces the darker C Minor transforms the atmosphere entirely, developing a powerful contrast with all the exposition. The middle section is really a lyrical and extremely intimate confession, an isle of peace inside the middle in the angry ocean, a bright memory from the midst in the dark reality.
The Largo arpeggios in the Interlude bars 41-42 fall and rise with corresponding micro-dynamics, and also the inner tension is constantly on the subside when we approach the serene Main Theme.
The Main Theme bars 43-50 is exquisite from every viewpoint an inspired and intensely expressive melody, brilliant rolling around in its simplicity, delicate and dreamy.
In the center section, Chopin is constantly use cross-rhythms for enriching the musical texture but on this occasion we use a calmer 2 on 3 triplets inside accompaniment, duplets inside the melody corresponding with all the artistic concept with this section.
The Main Theme contains 2 phrases, 4 bars each, based using a similar layout: the 1st phrase bars 43-46 begins from Ab, along with the second bars 46-50 from Bb, a step higher:
Don t miss the appearance with the middle voice within the LH bar 45 it sings in unison using the RH melody, emphasizing its expressiveness and creating a 3D feel.
The Theme begins moderato cantabile singing, inside a moderate tempo, sotto voce softer, inside a hushed manner, being presented twice bars 43-50 after which 51-58. The overall sonority is piano but we could also diversify it just a little, as I explain below, and we now have plenty of micro-dynamics that has a phrasing purpose a lot of them being indicated from the score.
This Theme is repeated 4x during the whole middle section, with minor changes as you may see through the form diagrams I shared above and that we could play somewhat with the character and overall dynamic intensity of each and every presentation for enriching the dramaturgy and avoiding a repetitive character.
For example, the very first presentation piano, delicately and transparently; your second presentation bars 51-58 slightly more expressive, through an approximate mp and also a higher boost in micro-dynamics.
The Secondary Theme section bars 59-70 begins boldly, in Ab Major the dominant of Db Major, having a resolute statement on the descending octave and also a sudden change of character from lyrical/delicate to energetic/volitive: we've got sf within the lower Ab, then, even as rise towards forte - as soon as the dotted-rhythm motif which intensifies the inner pulse with the music we require a short breath others in bar 60 prior to sudden upward leap these times a tenth, using a sf about the upper note which feels like a flare of hope. The sf peak is and then a descending passage in Db Minor which creates an extremely interesting harmonic color, diminuendo, bringing the melody as well as dramatic/dynamic intensity back down as being a sparkling wave within the sunlight.
The expressiveness with this Theme is enriched from the 7 on 6 cross-rhythm which creates a really elegant effect even as play the descending passage.
This short wave the dynamic fall and rise follows the layout in the melody according towards the same principle we had inside the Exposition: the larger the melody rises the more the dynamic increase.
After another short dotted-rhythm motif in bar 61, we have an extremely expressive contrast a delicate pianissimo reply in Gb Major which creates just one more interesting harmonic effect ensure you listen to it properly and convey out this modification of color!.
This Section continues as well as the delicate Gb Major reply prepares the appearance in the 2nd sentence in the Main Theme bars 63-70. By this time around, our lyrical confession starts feeling being a mirage we cannot escape, just as if we re can not find our way out with this deceiving labyrinth, no matter what perform we keep returning to your Main Theme.
This third return with the Theme is usually diversified again as an example playing it pianissimo like we re start to lose anticipation we just gained several bars ago or even mf, even as explore this music with renewed energy.
Then this complete loop Secondary Theme 2nd sentence of Main Theme is repeated we re still trapped inside labyrinth of our own sweet dreams so we can put our imagination to get affordable use again: once we perform the leap towards the upper C bar 72, why not produce a goose-bump-generating quiet culmination? This means that rather then playing this C sf, forte - we're going to play it as softly as you possibly can, pianissimo - generating an amazing floating effect when we suddenly escaped the force of gravity. This effect are going to be emphasized as we complicate the passage a bit bit and rehearse the version shared by Godowsky as part of his edition which I will demonstrate within the practice guide. In this situation, the descending passage are going to be longer and sound richer and now we can make good by using our jeu perle skills here.
The Reprise is the same repeat from the Exposition but you'll be able to experiment together with the tempo and character, as I stated previously playing it either Allegro agitato, or Presto. You can also tend to enter this fast tempo gradually beginning bar 83 slower, and quickly raising the speed. This will assist you to make a smoother outcomes of the Middle Section and Reprise.
And, last although not least, you might also begin the Reprise pianissimo, as being a distant whisper as though the darkness from the Exposition is slowly creeping for us from afar until it engulfs the past remnants of sunlight.
The Coda from bar 119 appears like a natural continuation in the Reprise, taking a little more forward the dramatic power from the culmination from your preceding bars. The 16th note figurations within the RH are based about the same pattern we in bars 115-118 a broken octave encompassing two middle notes as the LH accompaniment intensifies the movement with 8th note arpeggios.
We still forte - as well as on top in this impetuous and incredibly strong foundation a fresh layer appears and for that reason another voicing challenge, similar to your one we had within the Secondary Section with the Exposition/Reprise: the top voice marked with accents, about the weak part of each one beat forms an impartial melody and also the syncopated character gives more forward movement to the present music.
And this will not be all! As this powerful melody descends, we make slightly micro- diminuendo pursuing the layout with the passage after which we have a very softer reply, piano, since the melody descends into a lower register; then exactly the same dialogue is repeated again. This was the primary phrase from the Coda bars 119-123 :
The 2nd phrase from the Coda bars 123-126 generates a stretto feeling just as if the dialogue is currently compressed into quick flashes, the 4-note patterns alternating between registers. This phrase begins forte, and we have a very gradual diminuendo that slowly takes us to some different realm as being the dark turmoil finally goes away now, forever.
This new realm bars 127-138, similar on the one we find with the end of Chopin s Nocturne in C Minor, op. posth, brings serenity and true peace not an imaginary/transitory one, like in the guts section: this would be the enlightenment following struggle, the calm following your storm, the dawn vanquishing the darkness on the night, wisdom triumphing over emotion.
In this fragment which begins piano we employ a synthesis in the two main conflicting! musical images on this piece: the impetuous movement with 16th notes on the outer sections as well as the calm melody in the middle section. They are combined inside a masterful manner: first we now have two bars 127-128 of accompaniment this time inside the RH the roles are reversed; its length reminds us on the Interlude to the center section, while its pattern continues to be one we had within the descending octave passage on the culmination in the Exposition/Reprise.
Then, on top of the shimmering foundation isn t it wonderful that the simple alternation in dynamic/character can make same pattern sound powerful and dramatic, after which peaceful and whispering? the Theme on the middle section appears inside LH bars 129-136: as we start by getting playing this cello-like melody, the accompaniment enters into the background all the more, like gradually dissolved through the light from the dawn the pianissimo indication inside score refers for the RH! as the LH has to get played in a really singing manner il canto marcato, that has a deep velvety sound and excellent phrasing/intonation we shall learn how to generate this effect inside the video below.
If we mention the tonal plan, situations are very interesting here: in bars 127-128 the mode remains unclear we've only the 1st, 2nd and 5th steps of C inside the RH, without the last which would determine the major/minor LOL. Then, because the LH melody begins, first we've an A in bar 130 the colours are getting warmer so the beautiful E the third on the major scale remember that effect is named the Picardy Third? appears, allowing our entire sky for being fully lightened from the soft glow from the major mode. From this moment on, there aren't any more doubts, you can forget sadness, get rid of struggles a gradual ascension in to the realm of piece and quiet.
Also, don t miss the reality that the pattern in the RH accompaniment alterations in bars 135-136 as well as the wider stretch will be needing a bit of awareness and flexible practice.
The last two arpeggiated chords must be played very softly and delicately, ppp, just as if dissolving into these beautiful warm harmonies
Pedaling the Fantaisie-Impromptu requires some mastery.
Most editions indicate a simultaneous pedal to the Exposition/Reprise pressing the pedal on the very first beat on the bar and releasing it either for the last beat/8th note on the bar, or about the last 8th note with the halfbar.
This pedaling is great if executed properly using your hearing responsible, and expressive tasks like a priority; however, should you pedal mechanically, it can sound clumsy and awkward.
Another version is with the delayed pedaling technique changing it once per bar or halfbar, depending around the underlying harmonies in this case, to prevent a cluttered dirty sonority, you will must use half as well as quarter pedals again, remembering that the art of pedaling is governed from the ear !
More pedaling details from the video!
In my, the most significant difficulty is allowing the artistic concept to help you as you practice as opposed to simply emphasizing overcoming the many technical challenges. In other words, it s imperative that you not lose sight of one's real goals and priorities while you find your way through technical problems instead of forget that technique is only a means with an end, a measure you need to climb to be able to bring out your message encoded through the composer inside musical text.
Moreover, your technique could be fully developed not until it was in tune while using musical ideas you wish to express otherwise, it'll always be a meaningless number of gestures and notes that serve no expressive purpose.
Keeping this in your mind, it's a given that there are a good amount of technical challenges within this piece especially from the fast outer sections particularly when there are bigger stretches and/or crossings inside melodic figurations, and there will be the risk of landing on wrong notes for instance, the ascending passage in bar 7. Reaching a final tempo can be not easy and I will remind you that playing inside a fast, light, effortless, horizontal nevertheless precise manner is to start with a function within your mind along with the results of many preparatory slow/mindful practice.
This piece abounds in voicing challenges such as the ones I stated earlier; phrasing must be never forgotten always in tune together with the micro- and macro- dynamics ; intonation is key it always was in playing Chopin! from the melody with the middle section and as well whenever an added voice appears within the outer sections in these cases, we have a very double voicingintonation challenge.
Dramaturgy is really a challenge in itself using a clear a sense form, with the bigger picture as well as the dramatic development on the music and expressing it clearly inside your playing.
The cross-rhythms playing 3 on 4 will in fact not be a worry for those of you having a good hearing/coordination; and, should, I ll teach you how to practice them in the step-by-step manner!
And now that we now have such a clear picture on the main tasks encoded in this particular piece proper analysis is obviously golden! it s finally time for you to practice!