Music Pages From May 1908

EXPLANATORY NOTES ON OUR MUSIC PAGES.  Our music pages this month contain material which is not only of most attractive character, but also of real educational value, a number of the pieces calling for extended comment.  Schubert’s “Impromptu,” Op. 90, No. 4, is an important and very popular classic, frequently used in recitals and in advanced teaching.  Our plates have been prepared according to the revision of Franz Liszt, which embodies his ideas as to the proper fingering, phrasing and dynamics.  This piece requires a facile technic, a clear light touch and a certain amount of velocity.  The characteristic figure in sixteenth notes must be delivered with absolute evenness throughout.  When the counter melody appears in the left hand this must be well brought out in the manner of a ‘cello or baritone solo.  When the melody appears in the right hand with triplet accompaniment this must also be well brought out.  In the middle section in C sharp minor the repeated chords of the accompaniment must be decidedly subdued in order that the melody may stand out and to avoid heaviness.  The frequent crescendos and decrescendos must be carefully managed.  This piece will require diligent study.

 

 

 

  
Enjoy Krystian Zimerman performing Schubert's "Impromptu":

THE ETUDE MUSIC MAGAZINE – May 1908

Music By The Ton

Somebody once said that it requires more force to sound a note gently on the piano than to lift the lid of a kettle.  A German musician has just proved it.  He has calculated that minimum pressure of the finger playing pianissimo is equal to a quarter of a pound.  Few kettle lids weigh so much.  The German’s calculation is easily verified if one takes a small handful of coins and piles them on a key of the piano.  When a sufficient quantity is piled on to make a note sound, they can be weighed.  If the pianist is playing fortissimo a much greater force is of course needed.  At times a force of six pounds is thrown upon a single key to produce a solitary effect.  This is what gives pianists the wonderful strength of finger so often commented on.  A story used to be told of Paderewski that he could crack a pane of French plate-glass half-an-inch thick merely by placing one hand upon it, as if upon a piano keyboard, and striking it sharply with his middle finger.  Chopin’s last study in C minor has a passage which take two minutes and five seconds to play.  The total pressure brought to bear on this has been estimated as amounting to three tons.

 Enjoy Natalia Bezuglova's performance of Chopin's Piano Etude in C Minor, Op. 25, No. 12:

THE ETUDE MUSIC MAGAZINE – May 1908