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. Huneker exults, "What masterly writing, and it lies in the very heart of the piano! A hundred generations may not improve on these pages.Many good ideas already suggested. The trio, filled with longing, takes on a pianistic complexity. The gorgeous melody overlies a six-note-per-measure left-hand accompaniment of exceeding richness.
It must be a charnel-house." The melody, marked "con anima", is repeated three times during the lengthy proceedings, the last time bringing us to the coda in a magnificent key change. Schumann compared this scherzo to a Byronic poem, "so overflowing with tenderness, boldness, love and contempt." According to Wilhelm von Lenz, a pupil of Chopin, the composer said that the renowned sotto voce opening was a question and the second phrase the answer: "For Chopin it was never questioning enough, never soft enough, never vaulted (tombe) enough. The work was composed and published in 1837, and was dedicated to Countess Adèle Fürstenstein.
0 kommentar(er)
