12 études Etude No.2 Op.25-2 f-moll - Chopin, Frederic

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Chopin, Frederic : 12 études　Etude No.2 f-moll Op.25-2

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Work Overview

Music ID : 20785

Instrumentation：Piano Solo　
Genre：etude
Total Playing Time：1 min 40 sec
Copyright：Public Domain

etude

Piano Solo

piano solo

f moll

Commentary (2)

Author : Imazeki, Shiori

Last Updated: August 7, 2019

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Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

Etude in F minor, 2/2 time, Presto

This work is said to have been performed by Chopin in 1835 when he visited Schumann's home in Leipzig, along with Ballade No. 2 and Etude Op. 25 No. 1. Schumann praised this piece, describing it as "original and unforgettable once heard," and possessing "a tenderness that enrapts and makes one dream, like the song of a sleeping child."

This is an etude designed for practicing the performance of different meters (or rhythmic groupings) in both hands. The melodic figuration in the right hand requires clear articulation of each note; however, as it develops with numerous embellishing (or auxiliary) notes, it is essential to clearly distinguish between the core notes and the embellishing notes. While the right hand unfolds through a continuous, "spinning-out" motion, the left hand plays a figuration that describes small circles with triplets.

Writer: Imazeki, Shiori

Author : Ooi, Kazurou

Last Updated: March 12, 2018

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Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

Etude No. 2 in F minor

This etude is relatively easier technically among Chopin's etudes. Therefore, it is suitable for learners who are playing Chopin's etudes for the first time. However, this etude is sometimes misinterpreted. A typical misunderstanding concerns the tone quality. Before playing this etude, try listening to the 4th movement of Chopin's Sonata No. 2. This movement depicts the sound of wind blowing, and precisely this non-clear tone quality is required for this etude. You should aim for a dark, blurred, rather than bright and clear, tone quality. Avoid marcato and choose a tone quality that does not reach deep into the keys. Do not play with a hard, machine-gun-like sound. This is paramount.

Regarding Pedaling

When extracting the bass notes of this etude, for example, from measure 1 to measure 8, we consider there to be one bass note per measure. If we were to assume there are two bass notes per measure, the bass progression from measures 1-8 would be highly unnatural (E B F A♭ G D♭ A♭ C…etc.), whereas assuming one bass note per measure (E F G A♭ B C C F) results in a much more natural bass movement. Now, it is not strictly necessary to change the pedal according to the bass movement, but here lies the challenge. The discussion becomes whether to change the pedal twice per measure or only once. If you change it only once, some may be concerned about muddiness. However, if you change it twice, you risk losing the bass. Learners should consult thoroughly with their teacher to determine the pedaling. Incidentally, when the author plays this etude, two pedal changes are used per measure, with the second one being a half-pedal. This is for your reference.

Other Typical Points to Note

In measure 19, fully change the pedal on the bass C of the second beat of measure 18 and sustain it until entering measure 20. Subtly decrease the tempo.
In measure 35, the F♭ on the second beat is a non-harmonic tone, so emphasize it slightly and resolve it to E♭ within the same measure.
In measure 11, it is acceptable to change the color.
The last two measures are where many players lose tempo. Many players slow down excessively here. Remember the 2/4 time signature and ensure consistency with the previous measure, even if a ritenuto is indicated.

Writer: Ooi, Kazurou