Organs - Electronic (B3 etc.), Pipe, Theatre.
#Chopin scherzo 2 a major or professional
Who's Who - Professional Pianists on Piano World Member Recordings - Non Classical Pianist CornerĮVENTS! Piano Concerts, Recitals, Competitions.įun Stuff! - Parties, Tours, Projects & More.įorum Members Parties, Tours, Cruises, & M. MY NEW PIANO or KEYBOARD! - Share Your Story! However, even if you were to find similar stretching exercises, most piano teachers would frown students doing them without guidance, or else risk injuring hand muscles and tendons.ĭigital Pianos - Electronic Pianos - Synths &a. I believe the late Alicia de Larrocha mentioned in one interview how, as a child, her teacher Frank Marshall taught her exercises to stretch her fingers, and she was known to have small hands also. I do wonder whether you are taking lessons on this piece with a teacher, and what other pieces you've learned to come to this Scherzo.Īs ChopinLives81 mentioned, hand span from thumb to pinky is one issue, flexibility among all fingers is a separate one altogether. If you are an amateur and are studying this piece for personal enjoyment, I don't think there should be hesitations about making adjustments to make it possible for you to learn. I don't have big hands either, but could play this chord with rather flat fingers. For instance, in the LH chord in bar 6 (tied to bar 7) dropping the b-flat at the top? My 2 cents:Īs Derulux already suggested, look at the notes/voices that are repeated and could be omitted. After many years as Director of Publications and Archives for the Los Angeles Philharmonic, Orrin Howard continues to contribute to the program book.Many good ideas already suggested. It appears like a bolt of lightning and then vanishes. It is no wonder that this is the most popular of the Scherzos. It is in D flat major that the first of the two complements to the Scherzos opening theme proceeds.
This is brilliant, big-boned Chopin, muscular music handled with structural integrity. The modulations are heady, the filigree and the passage work dazzling, and the intensity gripping, the latter particularly as Chopin sets the final pages ablaze with an unbridled passion that is the antithesis of the pale Chopin whose reputation is for some based on moon-drenched nocturnes and tender waltzes.
From this point on the musical incidents accumulate. Then there are some toss-away ascending and descending single notes that prepare for the first lyric idea.īut there is still tension in this lyricism by way of the melody’s impetuosity and the accompaniment’s wonderfully buoyant cushion that provides a kind of breathless momentum. The extended opening section ends with a set of trills that act as a trajectory throwing the right hand up to the top of the keyboard for a swath of descending notes. The opening four notes return (three-longs-and-a-short, a famous enough rhythmic combination by 1837), and they become a kind of key which throughout the piece opens the door to a floodgate of tension and drama, as well as some pulsating Chopin poetics. After a pause, a very loud B-flat is followed by a long-held chord and in turn by four emphatic chords. Following a long-held B-flat, three soft and quick ascending notes lead to a longer note this is immediately repeated. In the present piece, the very opening gesture informs us that a drama is about to unfold. It is big and brawny, filled with magical harmonic coloration and huge pianistic flair it is also a little wordy (redundancy is one of the small flaws of each of the Scherzos), but that is a small price to pay for the boldness of spirit portrayed.
#Chopin scherzo 2 a major or full
The B-flat-minor Scherzo, the second of that genre’s four, was composed in 1837 and bears the full imprint of the composer’s unique creative qualities. Several of Chopin’s large works came in fours, though not composed consecutively: there are four Impromptus, four Ballades, and the same number of Scherzos.
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