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DOI: 10.5593/sgemsocial2017/62/S25.023

INTERPRETIVE PRINCIPLES IN CHOPIN’S ETUDES OP. 10

C. Raducanu
Tuesday 3 October 2017 by Libadmin2017

References: 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM 2017, www.sgemsocial.org, SGEM2017 Conference Proceedings, ISBN 978-619-7408-24-9 / ISSN 2367-5659, 24 - 30 August, 2017, Book 6, Vol 2, 192-200 pp, DOI: 10.5593/sgemsocial2017/62/S25.023

ABSTRACT

This paper presents the problem of performing some of the Chopin’s Etudes op.10, keeping in mind the basic principles of pianistic interpretation. There are different aspects of interpretative parameters such as form, tempo, rhythm, sonority, phrasing, fingering, which taken together lead to a qualitative interpretation of any musical piece. The purpose of this article is not to offer an exhaustive writing on how to perform Chopin’s Etudes op.10, but to present how to make use of those factors in order to achieve not a mere execution, but a viable interpretation, while trying to master some of these beautiful musical pieces. This article offers my personal insight on the subject as a result of my personal experience as a teacher and performer. I chose this particular topic, because the Chopin’s Etudes represent an important part of every pianist’s repertoire and I think that as a musician, it is always useful to learn new things and enlarge your musical horizon by reading or listening to different interpretations, especially when we take into consideration the fact that Chopin and Liszt were the two great romantic composers who revolutionized the genre of the etude, so I think that these pieces deserve to be reinterpreted over and over again.

Keywords: piano performance, phrasing, sonority, tempo, rhythm