close
Home > Chopin, Frederic > Impromptu no.1 As-Dur

Chopin, Frederic : Impromptu no.1 As-Dur Op.29

Work Overview

Music ID : 470
Composition Year：1837　
Publication Year：1837
First Publisher：Wessel, Schlesinger
Dedicated to：Caroline de Lobau
Instrumentation：Piano Solo　
Genre：inpromptu
Total Playing Time：4 min 30 sec
Copyright：Public Domain
inpromptu
Piano Solo
piano solo
As dur

Commentary (2)

Author : Asayama, Natsuko

Last Updated: July 1, 2008
[Open]
Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

The Impromptu Genre

The term "Impromptu" originates from Latin, meaning "unprepared." It is believed that the term was first used in 1822, when two composers coincidentally employed it for their own works simultaneously. As a musical genre, the impromptu has little relation to improvisation as a performance technique. It simply refers to a piece of music that reflects an improvisatory atmosphere, and it emerged as a musical genre in the 19th century. (While the idea of improvisatory music itself is by no means unique to the 19th century, it was previously known by various names such as toccata and capriccio.)

In the first half of the 19th century, the tradition of the impromptu largely followed two main currents:

  • One involved continuous variations on popular opera arias or folk melodies, exemplified by composers such as Czerny and Kalkbrenner, with notable works also by Liszt.
  • The other comprised lyrical musical content without a specific form, represented by composers like Voříšek and Marschner, who are said to have first used the term, as well as Schubert's impromptus.

However, even though the form is not fixed, many of them adopt an A-B-A arch form.

Chopin inherited the tradition linked to Schubert, leaving behind the Fantaisie-Impromptu and three Impromptus during his middle creative period. All of these exhibit a clear arch form, with the middle section designated as "sostenuto."

In Impromptu No. 1, various ingenious devices are employed to avoid the melody becoming overly constrained by the metrical structure. The right-hand melody is constructed by combining disjunct and conjunct motion, with leaps typically appearing on weak beats. Techniques for shifting melodic accent positions are also diverse; the opening trill already exemplifies this. Furthermore, the syncopated motive appearing in measure 8, the accents often placed on the second beat in the Sostenuto section, and the instruction in measure 23 to group triplet notes in twos, all contribute to this effect.

These remarkably detailed performance instructions are intended to create an improvisatory atmosphere, clearly demonstrating that the impromptu is composed with extremely precise calculation. The light, flowing melody and the perpetual motion accompaniment in the left hand are highly effective, making this work a prime example of the impromptu genre.

Writer: Asayama, Natsuko

Author : Ooi, Kazurou

Last Updated: March 12, 2018
[Open]
Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

General Remarks on Performance

This impromptu is performed across a wide range of skill levels. Even learners who have not yet fully developed their technique can manage to play it acceptably. While the tempo may be slower in such cases, this impromptu should ideally be played at a very fast tempo. Here lies a troublesome issue: the time signature varies depending on the edition. The author is currently examining two editions simultaneously; one is marked 4/4, and the other 2/2, with the tempo indication 'Allegro assai, quasi Presto' clearly stated. Regardless of which is 'correct,' there is no doubt that the piece is intended to be quite fast in either case.

When the tempo is increased, technical difficulties are prone to arise in the left hand. Let's take the first measure as an example. Playing such passages, wider than an octave, can be challenging. Therefore, I will share a small practice method.

The following explanation assumes the piece is in 4/4 time.

Left-Hand Practice Method

Let's practice the A-flat, C, E-flat in the first beat of the first measure. For passages requiring such a wide reach, first decide on a central note. In this case, with three notes, E-flat will automatically be the central note.

  • Place the 3rd finger on the central E-flat.
  • Without lifting the 3rd finger from E-flat, try playing A-flat. A-flat is played with the 5th finger and is a black key; it is best to curl the 5th finger slightly rather than extending it straight, striking firmly with the fingertip. When playing A-flat forte, it is good if there is no instability at the moment of impact. If you can only produce a small sound or experience instability upon striking, repeat this action several times. Gradually, you will be able to produce a louder sound, and the instability will subside.
  • Next, try playing the upper C with the 1st finger. This is not as difficult.
  • Next, quickly descend from C to A-flat. Of course, keep the 3rd finger on E-flat.
  • Next, quickly ascend from A-flat to C. Then repeat steps 4 and 5.
  • While holding A-flat, strike E-flat strongly.
  • While holding C, strike E-flat strongly.
  • Next, try looping A-flat, E-flat, C, E-flat, A-flat, E-flat, C, E-flat. If this goes well, the first beat should be playable without issue.
  • Next, while holding E-flat with the 3rd finger, try playing all other left-hand notes in the first measure: A-flat, C, D, C, B, D-flat, D, D-flat. If you can perform this action quickly, then try playing normally according to the score. It should feel significantly easier.

Using this practice method for the first measure as a reference, if you encounter difficult left-hand passages in other measures, try applying this same practice.

Musical Interpretation

Measure 1

Regarding the musical interpretation of the first measure: both of the author's two editions indicate a crescendo towards the fourth beat. Observing both the contour of the right-hand melody line and the harmonic progression of the left hand, applying a crescendo towards the fourth beat indeed creates a more natural shape. However, there is one point of caution: ensure that the E-flat in the right hand on the fourth beat does not become louder than the preceding E; rather, play it so that it becomes softer. In other words, treat the F on the third beat as the apex, and descend towards E-flat.

Measure 7

In measure 7, on the third beat, the right hand moves to the G an octave higher; do not rush into it, but take just a moment to reach the G.

Measures 8-12

Change the 'color' from measure 8, beat 3, to measure 10, beat 3, and again from measure 10, beat 3, to measure 12, beat 3. You may change it as the performer feels appropriate.

Measures 15 and 23

From measure 15, beat 2, only make audible the notes with two stems emerging from a single note head. Furthermore, from measure 23, only bring out the notes that are accented.

Measure 35 (B Section)

In measure 35, for the B section, it is important to treat the tempo freely and never play like a metronome. In measures 45 and 48, for example, take ample time to play the intricate right-hand passages.

Common Mistakes

A common mistake performers make is from measure 62, beat 3, to measure 64, beat 1. Here, performers often lose the bass line. When encountering such arpeggiated markings, if you align the timing of the lowest left-hand note with the right-hand note, and then play the remaining left-hand notes slightly after the right hand sounds, you can sustain the bass line and prevent the pedal from blurring the sound.

Writer: Ooi, Kazurou
View on IMSLP
Japanese