No. 5

When performing this etude, one must simultaneously adopt both a Romantic and a Classical mindset. While influences of Czerny and Beethoven are evident throughout, Romantic writing is also present. The performer must discern each section and “differentiate their playing” accordingly. If one adheres strictly to the style of only one era, many illogical passages will emerge.

Let's examine it from measure 1. The pedal should generally be applied once per beat, changing with each chord. In measure 2, there is an eighth rest in the left hand; however, strictly observing this rest would interrupt the horizontal flow. This section can be approached quite subjectively; while observing the eighth rest and playing this measure dry is not discouraged, performing without the pedal would make the right-hand passage sound stiff. In the author's personal opinion, this rest is a Romantic gesture rest, not a rest meant for actual short cutting.

Performers should try both approaches and decide for themselves. This flow continues until measure 16. Naturally, the inner voices of the right hand should be played as softly as possible, allowing the outer voices to be heard. From measure 17, the mood suddenly changes. Such sections are influenced by the Classical style, so the pedal should be omitted here. In measure 18, it returns to the Romantic style, and in measure 19, Classical writing reappears. Measures 17, 19, and 21 should be played without pedal. Measures 18 and 20 should include pedal.

Although the writing from measure 22 onwards appears Classical, respect the half notes in the bass and apply the pedal. In measure 26, beats 1-2, a sixteenth-note scale enters in the bass, so the pedal should not be used here. For beats 3-4, the pedal may be used. In measure 27, although there are sixteenth notes in the left hand, they form an arpeggio, so the pedal may be used. In measure 30, as it is a complete scale, either omit the pedal or use it sparingly.

From measure 38, beats 3-4, the author would apply the pedal. For measures 40-41, the pedal should be applied per beat. For measures 42-43, the pedal should be applied per measure. Proceed similarly thereafter. For example, in a section like measure 50, where the bass C# needs to be sustained for a full measure, the pedal should be held down for the entire measure.

The melodic line also connects. This measure is composed of an F# A C# chord, but there is a G# in the left hand (in the bass clef). This ultimately causes a dissonance, but it is precisely in such places that you should switch to a Romantic mindset. Do not worry about the dissonance; it is fine to continue pedaling. Thereafter, determine your pedaling based on the suggestions provided so far.

In Romantic sections where the pedal is used, rubato may be applied. Conversely, in Classical sections, maintain the tempo and adhere to the timing.