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2024-05-06
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Gottfried Galston Tacet Frédéric Chopin 2006 2021
Provided to YouTube by NAXOS of America 12 Études, Op. 10: No. 12 in C Minor "Revolutionary" · Gottfried Galston The Welte Mignon Mystery, Vol. 4: Dead or Alive ℗ 2006 TACET Musikproduktion Released on: 2021-01-01 Artist: Gottfried Galston Composer: Frédéric Chopin Auto-generated by YouTube.
Chopin Gottfried Galston 1830 1911 2021
Original Composer - Frederic Chopin (PLD/1830) Arrangement - Gottfried Galston (AUT/1911) MIDI - Christian "A" Ivan (PHP/2021) NWC File - (http•••) MIDI - (http•••)
Frédéric Chopin James Huneker Vladimir Horowitz Bach Hugo Leichtentritt Carl Czerny Bülow Alfred Cortot Gottfried Galston Alfredo Casella Ferruccio Busoni Leopold Godowsky Liszt 1829 1833 1857 1874 1877 1921 1946 1951 1962
Étude Op. 10, No. 1 in C major, known as the Waterfall étude, is a study for solo piano composed by Frédéric Chopin in 1829. It was first published in 1833 in France,[1] Germany, and England as the first piece of his Études Op. 10. This study in reach and arpeggios focuses on stretching the fingers of the right hand. The American music critic James Huneker (1857–1921) compared the "hypnotic charm" that these "dizzy acclivities and descents exercise for eye as well as ear" to the frightening staircases in Giovanni Battista Piranesi's prints of the Carceri d'invenzione. Virtuoso pianist Vladimir Horowitz, who refused to perform this étude in public, said, "For me, the most difficult one of all (the études) is the C Major, the first one, Op. 10, No. 1." The étude, like all études by Chopin, is in ternary form (A–B–A), recapitulating the first part. The first part of the middle section introduces chromaticism in the left hand octave melody while the second one modulates to the C major recapitulation via an extended circle of fifths. James Huneker states that Chopin wished to begin the "exposition of his wonderful technical system" with a "skeletonized statement" and compares the étude to a "tree stripped of its bark." Its harmonies resemble a chorale and its relationship to Bach's Prelude No. 1 in C major (BWV 846) from The Well-Tempered Clavier has been noted by musicologist Hugo Leichtentritt (1874–1951), among others.[6] A fictional example of Chopin's harmonies with Bach's figuration and vice versa is given by British musicologist Jim Samson (born 1946).[7] A harmonic reduction ("ground melody") of the work can already be found in Carl Czerny's School of Practical Composition.[8] The work is to be executed at an Allegro tempo. Chopin's metronome marking, given in the original sources, is MM 176 referring to quarter notes. The time signature common time is according to the first French, English, and German editions. A copy by Józef Linowski of Chopin's autograph reads cut time (alla breve). A slower tempo (quarter note = 152) has been suggested by later editors such as Hans von Bülow who feared that at quarter note = 176 "the majestic grandeur [would be] impaired." There is no Maestoso indication by Chopin though. Unlike Op. 10, No. 4, which reaches fff, this one stays in f throughout and never once reaches ff. Both right hand arpeggios and left hand octaves are to be played legato throughout. The main technical difficulty of this piece is playing the uninterrupted right hand arpeggios, including the swift position changes, in legato powerfully and accurately at the suggested tempo (quarter note = 176) without straining the hand. The momentum of the motion has to be transferred by the outer hand and the fifth finger to the accentuated top notes. French pianist Alfred Cortot (1877–1962) states that the first difficulty to overcome is "stretch and firmness in shifting the hand over nearly the whole length of the keyboard." Exercises introduced by Cortot, Gottfried Galston and Alfredo Casella deal mostly with stretch and anticipation of position changes. Ferruccio Busoni in his Klavierübung introduces an exercise for two hands in contrary motion, somewhat reminiscent of Leopold Godowsky. Australian pianist Alan Kogosowski warns against straining the right hand by constant overstretching. To avoid strain, the first note of the position "must be released like a hot potato," and the hand "should move quickly and laterally, without stretching, from the first note to the next note and the next position." Liszt played this piece at first sight :0
Etude, Op. 10, No. 12 (Revolutions-Etude) QRS Artecho R2001 (played on a non-reproducing piano) Fr. Chopin Played by Gottfried Galston This roll is out of print as of April 2020 and is incorrectly labeled as Op. 8. Played on a 1924 Willis Upright Pumper with an Otto Higel stack. Please consider making a donation towards keeping this player piano going and towards the restoration of my upright Heintzman Artecho & Willis Ampico grand piano. TAGS: "player piano" "pianola" "mechanical music" "piano roll" "pneumatic piano" "music roll" "willis player piano"
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