25 Etudes faciles et progressives, conposées et doigtées expressément pour l'étendue des petites mains L'adieu Op.100-12 - 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　L'adieu Op.100-12

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Work Overview

Music ID : 23987

Instrumentation：Piano Solo　
Genre：etude
Total Playing Time：1 min 00 sec
Copyright：Public Domain
Additional Notes：表記ゆれの例：わかれ　さようなら　

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.

The French word “L'adieu” does not signify a mere farewell, but rather a fated separation, perhaps never to meet again. The tempo marking “Molto agitato” and the accents on the second beat of measures 5, 6, 14, and 15 evoke anxiety and loneliness. Does the C major section from measure 17 recall a joyful past? Performing with your own narrative in mind may help to infuse the piece with emotion.

Performance Points (Original Tempo ♩=184)

The piece begins with a highly eloquent introduction, featuring a figure with an appoggiatura twice at the opening, followed by a leap of a seventh. Consider: what if the appoggiatura E in measure 1 were absent, and the note simply descended to D? What if the seventh in measure 3 were an octave? Reflecting on these alternatives will naturally reveal how best to express the music.

From measure 5, aim to highlight the harmony of the sixths between the left and right hands, ensuring the right-hand triplets are not too strong.
Execute the finger changes on the same notes in measures 14 and 15 smoothly, and play the left-hand accompaniment figure from measure 17 softly and evenly.

(From To-on Edition “Burgmüller 25 Etudes” (NS70))

Writer: Sato, Takashi

Author : Iida, Arisa

Last Updated: March 15, 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.

Musical example provided by: Ongaku no Tomo Sha

Writer: Iida, Arisa

Author : Ooi, Kazurou

Last Updated: May 10, 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.

Regardless of how one interprets the title, the opening tempo marking Allegro molto agitato and the metronome marking quarter note = 184 should be strictly adhered to. When composers write molto agitato, the tempo is often fast and restless (e.g., Chopin Op. 10 No. 9, Liszt, Transcendental Etude No. 10, etc.). This piece similarly expresses a state of intense emotional turmoil. A characteristic feature is the frequent occurrence of measures with an accent on the second beat (mm. 5, 6, 9, 10, 14, 15, 25, 26, 29, 30, 34, 35). This is an expression beyond ordinary emotion.

After the four-measure introduction, the main theme begins at measure 5. Both the right and left hands can be considered melodic lines, but the right hand should be emphasized. However, do not forget to make the left hand sing as well. From measure 5 to measure 13, the performer should frequently employ rubato, remembering to fluctuate the tempo. As a tip, in measures with an accent on the second beat, it may be beneficial to slightly lengthen the second beat. Measures 14-16 should be played with metronomic precision.

The B section in C major is marked p but is also espressivo. The right-hand line should be clear and sung with ample expression. At measure 22, the melodic line ascends an octave. Depicting a singer, take your time here and play the first two beats with ample space. Measures 37-39 depict a farewell; although nothing is written, gradually apply a diminuendo to convey the sense of moving away into the distance. Measures 40-41 should be interpreted as a fateful cadence.

Writer: Ooi, Kazurou