No. 7 "Eroica"

It is important to understand the term Allegro deciso written at the beginning of this piece. Deciso means "resolutely," and a similar term is resoluto. While there may be various interpretations, the author understands deciso as resoluteness with dignity.

In fact, the third edition of this collection of Transcendental Etudes is the one commonly performed; the first edition is rarely played unless under special circumstances (e.g., competitions), and the second edition is even less frequently performed. While the melody of the first edition was adopted for the second and third editions, the initial tempo markings can differ between the first edition and subsequent editions. However, it is safe to assume that the ideas behind the second and third editions are almost identical.

In performing these second and third editions, the initial tempo marking may be the most crucial aspect. Currently, the third edition is performed worldwide, but there are many instances where learners misunderstand the actual musical idea. And this "heroic" piece is sometimes performed with an interpretation that the author cannot agree with in that sense. Therefore, understanding Allegro deciso becomes vital.

The piece begins with a fierce cadenza in the first two measures, marked forte. However, some learners change the tempo or drastically alter the atmosphere when they reach the third measure. Of course, the tempo should not be changed, but a greater problem lies in the mood of the third measure. Based on their understanding, performers might consider this section to be p and a "passage that must be played beautifully." Even if it were p, one must not change the tempo, but sustain the tension, and avoid producing soft, gentle sounds. There is absolutely no reason why this section must be played beautifully. One must maintain dignity and play the third measure resolutely. A certain degree of roughness is also acceptable. As has been stated repeatedly in these "Performance Tips," human emotions do not drastically change in an instant. There is always a lingering resonance. This third measure must also retain the lingering resonance of the fierce cadenza from measures 1-2.

The author has, in fact, never heard this No. 7 of the second edition performed by other pianists or learners. However, advice will be given to unfortunate learners who mistakenly chose this second edition instead of the third, as well as to those who are actually studying the third edition (although this is a performance tip for the second edition, it is also useful for those studying the third edition as they share commonalities). From this point on, the explanation will be solely for the second edition.

At measure 13, stringendo molt is written, and at measure 15, quasi presto and con forza are written. This indicates a very intense emotional expression. Under no circumstances should one play with rubato, swaying the eighth notes. This is deciso.

At measure 29, the theme begins. What is written is Tempo di marcia and un poco marcato il canto. The marking is p, but I reiterate: This is not a soft, gentle section. One must play with dignity and resolutely, as if a heroic figure is contemplating something grand, or engaging in a political conversation. Even at p, maintain tension. As the piece progresses into the latter half, it intensifies further, creating increasing psychological pressure. Do not lower the tempo or volume to change the mood out of fear of wrong notes; instead, bravely showcase the technique, even if there are some imperfections.

While this is a subjective opinion, Lazar Berman's recording is the most suitable as a reference.