25 Etudes faciles et progressives, conposées et doigtées expressément pour l'étendue des petites mains Tendre fleur Op.100-10 - Burgmüller, Johann Friedrich Franz

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Burgmüller, Johann Friedrich Franz : 25 Etudes faciles et progressives, conposées et doigtées expressément pour l'étendue des petites mains　Tendre fleur Op.100-10

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Work Overview

Music ID : 23985

Instrumentation：Piano Solo　
Genre：etude
Total Playing Time：1 min 30 sec
Copyright：Public Domain
Additional Notes：表記ゆれの例：　かわいいお花

etude

Piano Solo

piano solo

Commentary (3)

Author : Sato, Takashi

Last Updated: January 31, 2022

[Open]

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

This is a delicate piece written almost entirely in two-voice texture. Short two-note slurs, which also appeared in No. 5 'Innocence,' are frequently used in Classical works by composers such as Mozart. Although the second note of each slur has a staccato, it should not be played in a detached or bouncy manner. Play as if gently cherishing each individual petal.

Performance Points (Original Tempo: ♩ = 152)

This simple piece is an etude for training the 'ear'. From measure 5, the left hand begins by imitating the right hand slightly delayed, eventually developing independent motion. Since the peaks of the phrases are subtly offset between the two hands, listen carefully to each. At the cadences in measures 8 and 24, the right hand divides into two voices; listen not only to the upper voice but also to the inner voice that descends as D - B - A - G - F#. For the ornamentation in measure 13, practice first without it, then incorporate it while maintaining the same lyrical quality.

(From To-on Edition 'Burgmüller 25 Etudes' (NS70))

Writer: Sato, Takashi

Author : Iida, Arisa

Last Updated: March 15, 2018

[Open]

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

Musical example provided by: Ongaku no Tomo Sha

Writer: Iida, Arisa

Author : Ooi, Kazurou

Last Updated: January 31, 2019

[Open]

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

This piece requires careful attention to avoid harsh, sharp, or loud sounds. This is a general instruction. Now, let's examine each section.

Measure 1

Play without pedal and observe the articulation. In the Zen-On edition, the two eighth notes per beat in the right hand are marked with legato and staccato. Therefore, play them as marked, but be very careful that the staccato notes on the off-beats do not become louder than the notes on the downbeats.

Then, apply a very slight crescendo within the p dynamic (to an imperceptible degree) to reach the joyful emotion of Measure 2.

Measure 2

Use the pedal to create warmth, but be creative with the pedaling timing. The pedal should be pressed simultaneously with the E on the off-beat after playing the melodic note F# on the downbeat of beat 1. This measure contains the dominant seventh chord of D major, A-C#-E-G. Since only F# is a non-chord tone, avoiding it when pedaling will allow for a clean resonance.

Measure 3

Similar to Measure 1, no pedal.

Measure 4

Same as Measure 2.

B Section (from Measure 9 onwards)

This section begins mezzo forte. Measures 9-10 and 11-12 are identical in both notes and rhythm. If Measures 9-10 are mezzo forte, then Measures 11-12 could be played mp.

Measures 15-16 (Diminuendo)

Dimin. is written in Measure 15, but it is unclear from where this diminuendo should begin. Hypothetically, if Measures 13-14 are played at around mezzo forte, then the dimin. in Measures 15-16 would make sense. Looking at the entire piece, the chordal accompaniment appears only in Measures 13-14. It would not be inappropriate for the volume to be slightly louder here.

Writer: Ooi, Kazurou