Étude Op. 10, No. 4 in C minor is a study for solo piano composed by Frédéric Chopin in 1830. It was first published in 1833 in France,("French edition"). Paris: M. Schlesinger, June 1833. Germany,("German edition"). Leipzig: Fr. Kistner, August 1833 . and England("English edition"). London: Wessel & Co, August 1833. as the fourth piece of his Études Op. 10. This study, a very fast Presto con fuoco, features continuous sixteenth notes (semiquavers), in perpetuum mobileLeichtentritt, Hugo. "Die Etüden." In Analyse der Chopin’schen Klavierwerke [Analysis of Chopin’s Piano Works]. Band II. Berlin: Max Hesses Verlag, 1922, p. 100. fashion involving both hands.

Structure and stylistic traits

Like all of Chopin's other études, this work is in ABA form though the B section does not represent a contrasting and independent middle section in the manner of a trio.Leichtentritt, p. 100 The entire piece is based on the same semiquaver motif, which springs from its opening strong sforzato accent to rapidly increase its volume and compass until ending abruptly on a strong sforzato climax.Leichtentritt, p. 101 Musicologist Hugo Leichtentritt (1874–1951) presents a graphic curve which illustrates the aggressive character of the motive expanding from second to eleventh in less than three bars.

Leichtentritt compares the manner in which the motif is developed, especially the 4-bar alternations of left and right hand in the rendition of the theme, to certain Bach preludes, or to the gigue of J. S. Bach's English Suite No. 6.Leichtentritt, p. 102 In the B section these alternating sequences are shortened to two bars and the frequency of sforzati and accents rises.

Leichtentritt believes that in fast tempo the sforzati climaxes in bars 16–45 can be perceived as a coherent contour line.Leichtentritt, p. 103 Again, as in Op. 10, No. 1, Chopin achieves powerful sound effects with arpeggios in tenths on diminished seventh chords. After the climax, , con forza (45–47), a more transparent bridge leads to the return of the A section which recapitulates the first two eight-bar periods extending the cadence by four extra bars, increasing to and preparing the raging coda, con più fuoco possibile (as fierily as possible).

Chopin scholar Simon Finlow observes that a very similar passage occurs a decade before Chopin in the rondo of Johann Nepomuk Hummel's Piano Concerto No. 2, Op. 85. In Hummel, though, the purpose of the semiquaver figure is to "decorate a chromatic sequence," whereas in Chopin the figure "embodies a motivic structure that permeates the entire composition" and reaches a "dramatic apotheosis" in the Coda.Finlow, Simon."Twenty-seven Études and Their Antecedents." In Jim Samson (ed.), The Cambridge Companion to Chopin. Cambridge: Cambridge University Press, 1992, p. 54. Another remarkable trait is the upbeat character of the motif likewise permeating the entire piece. The étude’s perpetual motion texture and relentless semiquaver figuration, combined with its dramatic intensity, have occasionally invited comparison to the final movement (“Presto agitato”) of Beethoven’s Moonlight Sonata, which likewise employs continuous rapid figuration to generate a turbulent and climactic character. Like in the first two études of Op. 10, a rough copy autograph reads cut time (alla breve), further supported by the metronome mark  = 88 referring to half notes (rather than  = 176 referring to quarter notes).

Character

American music critic James Huneker (1857–1921) believes that "despite its dark key color", this étude "bubbles with life and spurts flame."Huneker, James. "The Studies—Titanic Experiments." In Chopin: The Man and His Music. New York: Charles Scribner's Sons, 1900. German pianist and composer Theodor Kullak (1818–1882) calls it a "bravura study for velocity and lightness in both hands. Accentuation fiery!"Huneker (1900) Leichtentritt calls the piece a "magnificent tone-painting" [prachtvolles Tongemälde] and "elemental sound experience" [elementares Klangerlebnis]:

Chopin scholar Robert Collet believes that the study "has more than a hint of something elemental, demoniacal and even sinister."Collet, Robert. "Studies, Preludes and Impromptus." In Frédéric Chopin: Profiles of the Man and the Musician. Ed. Alan Walker. London: Barrie & Rockliff, 1966, p. 131 Italian composer and editor Alfredo Casella (1883–1947) states: "The piece should be finished with extreme impetuosity and without any relaxing, almost like a body hurled with great velocity [suddenly dashing] against an unexpected obstacle."Casella, Alfredo. F. Chopin. Studi per pianoforte. Milano: Edizioni Curci, 1946, p. 26.

Technical difficulties

In Robert Schumann's 1836 Neue Zeitschrift für Musik article on piano études,Schumann, Robert. "Die Pianoforte-Etuden, ihren Zwecken nach geordnet" ["The Pianoforte Études, Categorized According to their Purposes"]. Neue Zeitschrift für Musik No.11, February 6, 1836, p.45. the study is classified under the category "speed and lightness" [Schnelligkeit und Leichtigkeit]. Collet remarks that the procedure of transferring the semiquaver figuration from one hand to the other, common in Bach but rare in Chopin, "makes great demands on the left hand." Chopin [in other works] rarely treats the left hand "as if it were a second right hand."Collet, p. 131 Chopin's zigzag configuration of the semiquaver line hardly allows usage of the standard C minor scale fingering and invites pianists to use their thumb on black keys, treating them just like white ones. The result is a general absence of finger crossings, thus facilitating a quicker tempo. French pianist Alfred Cortot (1877–1962) states that the main difficulty to overcome is "regularity and briskness of attack" and the [very quick] alternation of narrow and wide hand positions.Cortot, Alfred. Frédéric Chopin. 12 Études, op.10. Édition de travail des oeuvres de Chopin. Paris: Éditions Salabert, 1915. His preliminary exercises commence to address the narrow and wide positions separately.

Many editions cite pedaling, but none appears in the original editions,"French," "German" and "English" editions except at the last four bars (79–82).

Arrangements

Leopold Godowsky's version for the left hand alone in his 53 Studies on Chopin's Études "retains most elements of the model," but presents a challenge to the performer who tries to "retain the full emotional impact of the original."Hamelin, Marc-André. "Godowsky’s Studies on Chopin’s Etudes." Liner notes for Godowsky: The Complete Studies on Chopin’s Etudes. Hyperion. CDA67411/2, 2000, p. 15.

Notes and references

External links

Chopin Etude Op. 10, No. 4 played by Alfred Cortot (YouTube) Chopin Etude Op. 10, No. 4 played by Arthur Rubinstein (YouTube) Chopin Etude Op. 10, No. 4 played by Claudio Arrau (YouTube) Chopin Etude Op. 10, No. 4 played by Vladimir Horowitz (YouTube) Chopin Etude Op. 10, No. 4 played by Sviatoslav Richter (YouTube) Chopin Etude Op. 10, No. 4 played by Vladimir Ashkenazy (YouTube) Chopin Etude Op. 10, No. 4 played by Maurizio Pollini (YouTube) Chopin Etude Op. 10, No. 4 played by Martha Argerich (YouTube) Chopin Etude Op. 10, No. 4 played by Evgeny Kissin (YouTube) Chopin-Godowsky - Etude op. 10, No. 4 (for the left hand) played by Marc-André Hamelin (YouTube)