First Edition: Paris, Heugel et Cie, 1865 Dedication: A Mesdemoiselles Blanche MARGUERITTE

As indicated by its subtitle, this collection of etudes was written as a preparatory set before tackling the 'Etudes for Pleasant Sounds' included in the latter half of this collection.

When one thinks of etudes, mechanical finger movements like those in Czerny's 'Op. 30' often come to mind. However, in France, from the mid-19th century onwards, melodic etudes were also composed to teach various musical styles and genres. Burgmüller's etude collections are also works from this period.

Lavignac, a leading pianist and composer of his time, wrote this collection of etudes, meticulously notating even the finest nuances, to aid in the study of various expressions.

No. 6 in E Major, Andante con moto

A lyrical melodic piece. In French, a melody in instrumental music is called a 'chant' (song), and in this piece, 'singing on the piano' is precisely the theme. It requires expressing the subtle nuances of the melody by carefully observing the phrases indicated by slurs, the ornaments, and the dynamics.

No. 7 in D Major, Allegro ma tranquillo

This piece is characterized by a light and dance-like character. Technical challenges include left-hand leaps and finger substitutions on the same key. A ritardando is always marked when the opening theme returns. This is a fundamental expressive technique to clearly convey the structure of the musical phrase to the listener, so it is important to play while paying attention to the phrase divisions. Furthermore, in measures 29, 31, and 33, the intervals between the right and left hands create dissonances. Although a crescendo is placed, indicating a soft start, a strong sense of tension must be maintained.

No. 11 in G Minor, Allegro agitato

The third piece is a short work in an instrumental genre, a dramatic composition rich in dynamics from p to ff. The main motif at the beginning is reminiscent of the finale of Beethoven's Piano Sonata Op. 31 No. 2 ('Tempest'). The small decrescendo in the right hand on beats 1-2 of measure 1 expresses the release of tension from a non-harmonic tone into a harmonic tone; this nuance can be applied to all similar figures. The theme returns from the upbeat of beat 3 in measure 41, so pay attention to the 'poco ritardando' immediately preceding it, and devise a way to make the listener aware of the theme's reappearance.

This commentary is based on the notes from Henri Lavignac, 'Lavignac Piano Pieces' (Kawaii Publishing, edited by Yasushi Ueda), published in 2015.

Sheet Music Information: Kawaii Publishing ONLINE 'Lavignac Piano Pieces'