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Piano, Piano
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Amazon Music Stream millions of songs. The melody itself is characterized by repeated notes. A novelty are the distinct crescendo and diminuendo signs allocated "polyphonically" and sometimes even differing in the two voices played by the right hand. There are five eight-bar phrases. Leichtentritt observes that each eight-bar phrase is "ruled by a new motif " and that "each of these segments surpasses the preceding one in sonority and brilliancy".
BEETHOVEN AND SCHUBERT
It reaches a climax in the fourth period bars 46—53 , a bravura passage of double sixths for both hands. The fifth period bars 54—61 , leading back to the final restatement of the theme, can be described as an extended dominant seventh. Leichtentritt believes it to be "one of the most exquisite sound impressions ever contrived for the piano". The final A section is a quite literal though shortened restatement of the first one.
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Chopin disliked excessive sentiments expressed during performance, as it tore the musical structure he initially intended. Chopin also eschewed a beleaguering tempo with distinct pulse since it destroyed the significance of the 2 4 time signature.
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As the right hand part contains a melody and sometimes an extra filling voice to be played by the three "weaker fingers" and an accompaniment figure played by the first two fingers, the hand can be divided into an "active element" and an "accompanying element" not unlike in Op. French pianist Alfred Cortot — especially mentions the importance of " polyphonic and legato playing", the "individual tone value of the fingers" and the "intense expressiveness imparted by the weaker fingers".
Preparatory exercises consist of addressing two "distinct muscular areas" of the hand by playing two voices with one hand, each voice with a "different intensity in tone". Cortot believes that the "weight of the hand" should lean towards the fingers playing the predominant part while the others "remain limp". He recommends practicing the right-hand part of the first twenty bars the A section in three distinct modes of articulation and dynamics simultaneously, the top voice forte and legato, the middle one mp , and the lowest semiquavers in pp and staccato.
Concerning the legato Cortot states that the intensity of tone is imparted "by pressure and not by attack".
He further observes that legato of notes played in succession by the same finger can only be achieved by the portamento device". In regard to the pedal Cortot recommends pedal changes synchronized with the bass line six changes per bar , although many critics say this is too much to be necessary. No pedal indication by Chopin is found in manuscripts or original editions. Transcriptions for voice with a relative adaptation of words already existed in Chopin's time. When he was in London in , he heard Maria Malibran sing one of these "adaptations" and pronounced himself extremely pleased.
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The memorable simplicity of the theme has led to its widespread use across a variety of media. In popular usage, it is invariably performed at a slower tempo marking than the original. From Wikipedia, the free encyclopedia. Schlesinger , June Retrieved 24 December The Country That Refused to Die: