Burgmüller, Johann Friedrich Franz : 18 Etudes de genre (faisant Suite aux Etudes faciles op. 100) Le Retour de Pâtre Op.109-3
Work Overview
Genre:etude
Total Playing Time:1 min 40 sec
Copyright:Public Domain
Commentary (2)
Author : Sato, Takashi
Last Updated: January 31, 2022
[Open]
Author : Sato, Takashi
Although it is a triple-meter dance like the previous piece, its impression is quite different. Compared to the refined waltz of 'The Pearl,' this is a more rustic, Ländler-style* dance. Including the C major middle section, it resembles 'La Styrienne' from '25 Etudes.' This shepherd must surely live near the foothills of the Alps.
*Ländler: A folk dance originating in the mountainous regions of Southern Germany and Austria.
It is in a slow 3/4 time, danced by pairs turning around.
Performance Points (Original Tempo ♩=144)
The small ornamental notes, like bird calls, create a rustic atmosphere, but the challenge lies in playing them with the less agile 3rd and 4th fingers. Pay close attention to the agile lifting and lowering of the 3rd finger. Ensure that the ornaments do not disrupt the melodic line. Also, pay attention to the slur in the left hand extending from the second to the third beat. From measure 13 in B minor, both hands play staccato, and the character changes dramatically.
(From To-on Edition "Burgmüller 18 Etudes" (NS61))
Author : Ooi, Kazurou
Last Updated: November 30, 2020
[Open]
Author : Ooi, Kazurou
Overall Flow
It is marked Allegretto. There is no need to apply excessive rubato; rather, proceed relatively straightforwardly, adhering to markings such as riten. and a tempo. Maintain a consistent overall tempo, ensuring that the tempo does not change from section to section.
Overall Structure
Although it features a simple melody and accompaniment, the melodic line is written with articulations that evoke string instruments such as the violin, rather than a vocal quality. The form is written as a Rondo: A-B-A-C(-D)-A Coda.
Points to Note: Regarding Pedaling
While you may follow the pedal markings as written in the score, there are several points to be mindful of.
Firstly, in Section A, measures 1-4, considering the staccato and articulations, I (the author) would not use the pedal. In my (the author's) score, there is a short pedal marking in measures 1-2, for the accompaniment part from the off-beat of beat 1 to beat 2. Either approach is acceptable; however, if the upper voice melodic line D is sustained properly, the lower accompaniment can remain staccato.
In measures 5-12, to maintain the smooth legato line in the right hand and to allow the bass notes to be heard, I (the author) would pedal each measure. However, there is a caution. There are ornaments in measures 5, 6, 9, and 10. Ensure your pedaling does not sustain these ornaments. For example, in measure 6, there is an ornament on beat 1, as well as a non-harmonic tone A; do not sustain these notes. Begin pedaling from beat 2. If you do so, you will lose the bass note. Therefore, if you sustain the bass note with your little finger and then apply the pedal from beat 2, you can avoid muddiness while also sustaining the bass. In this way, it is advisable to use finger pedaling to avoid muddiness caused by ornaments.
In Section B, since all notes in the right-hand melodic line are marked staccato, I (the author) would not use any pedal in Section B. The only exception is measure 20, where I would apply the pedal.
Regarding Section C, this section also does not require much pedaling. This is because many notes are marked staccato.
By alternating between using and not using the pedal for each section in this manner, you can clearly bring out the contrast between sections and make their individual characters more understandable. For your reference.
PTNA & Partner Channel Videos(12items) View More
Sheet Music
Scores List (13)

(株)東音企画(バスティン)

(株)全音楽譜出版社

カワイ出版

(株)サーベル社

KMP(ケイ・エム・ピー) ケイエムピー

(株)ドレミ楽譜出版社

(株)全音楽譜出版社

(株)ドレミ楽譜出版社

(株)全音楽譜出版社

(株)全音楽譜出版社

(株)ドレミ楽譜出版社

カワイ出版