It makes me hopping mad when people go on about the numerous wrong notes in his recordings. Would that they could begin to hold a candle to playing of such genius, flawed as the results sometimes were. But these surface blemishes which would not pass the censors nowadays, admittedly detract from the playing not one iota — besides, he admitted he hardly had time to practise, busy as he was with his teaching, conducting, administrative duties and touring. After just one week of practising the exercises, my playing of the piece improved dramatically. I still use them all the time, not just for the exercises Cortot designs, but also for his fanciful and poetic running commentaries which illuminate the music wonderfully.
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See media help. The melody consists of rapid chromatic scale figures played by the outer right-hand fingers, accompanied by chord attacks. The middle section brings a dramatic increase with the dynamic climax exactly in the center of the piece, bar This climax is approached by stepwise rising two-bar sequences from F major to A minor via G minor.
The final dominant seventh chord of each sequence leads to the next one by means of a deceptive cadence. The final A section is a quite literal though shortened restatement of the first one ending with a coda of a rising and falling scale into a Picardy ending. Chopin demanded that the chromatic scale be played sempre legato , a direction mentioned seven times throughout the score. This contrasts with the staccato chords played as accompaniment.
The original first French, German, and English editions have common time. But Leichtentritt describes its sound effect as the "murmuring and blowing of a gentle wind",  French pianist Alfred Cortot — mentions its "gliding and vaporous character"  and Alfredo Casella talks about a "character of swift, aerial and unsubstantial mysteriousness". But the chromatic scale is never given to the "weak" fingers.
The thumb, usually playing all other white keys, is replaced by the ring finger. While it is fairly easy to cross the long middle finger over the short thumb, acrobatic dexterity is required to cross the middle finger over the ring finger. An obvious way to proceed is straightening the middle while bending the ring and little fingers.
French pianist Alfred Cortot — states that the first difficulty to overcome is the "crossings of the 3rd, 4th and 5th fingers" and the "strain resulting from the continuous action of the said fingers.
Cortot divides the hand into an "active element" and an "accompanying element. Galston recommends to hold and press a little object with the thumb and index finger while playing the chromatic semiquavers with the other fingers. Cortot recommends the "pizzicato" notes to be "plucked rather than struck" and Casella wittily compares the three outer fingers to a " motorcycle dragging along its own sidecar [the first two fingers]". Kogosowski reports that even "the imposingly powerful Sviatoslav Richter , who possessed the most awesome technical equipment of any pianist in the world, would quake before this tiny piece.
In the course of this study the chromatic scale and the two-note accompaniment chords appear in all kinds of permutations given to the right to the left and to both hands simultaneously. An exercise in double notes is included.
The result sounds much faster than the actual tempo which is M. Paris: M. Schlesinger, June Leipzig: Fr. Kistner, August Band II. Berlin: Max Hesses Verlag, , p.
National Edition. Warsaw: Polskie Wydawnictwo Muzyczne, Alfred Publishing Co. Berlin: Max Hesses Verlag, Studi per pianoforte. Milano: Edizioni Curci, Leipzig: H.
Probst, , reprint Kistner, , No. Studienbuch [Study Book]. Berlin: Bruno Cassirer, , p. E-Book, Schule des Virtuosen ["School of Virtuosity"].
Vienna: Haslinger, , No. Buch 8 Variationen und Varianten nach Chopin. Edition Peters EP Etude Op. Transcription of I. Moscow: Muzgiz [state Music Publishing House].
The Study Editions of Alfred Cortot
Giorgi Latso Problems playing these files? See media help. Chopin wrote them between and , partly at Valldemossa , Majorca , where he spent the winter of —39 and where he had fled with George Sand and her children to escape the damp Paris weather. He thus imparted new meaning to a genre title that at the time was often associated with improvisatory "preluding".
Étude Op. 10, No. 2 (Chopin)