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HOW TO STUDY CHOPIN’S ÉTUDES? →     Introduction     op. 10 n° 1     op. 10 n° 7     op. 10 n° 12 (video)     op. 25 n° 11 (video)     op. posth. n° 1 (video)

Solutions concerning technique and interpretation

Chopin - Etude in E Major, op. 10 n° 3

Sadly, in the Western world, this Etude has been named “Sadness”. Poor Chopin who so hated all these descriptions added to his compositions…

A frequent and important mistake (measure 46)
Measures 46-53 are rarely played correctly. By transforming the sixteenth note chord on the first beat of measure 46 to a quarter note (see the example above), the result is that the rhythm is altered by three sixteenth notes for the next 8 measures. Consequently, the precise construction written by Chopin falls apart: the forte or sforzato (depending on the edition) beginning measure 54 is displaced from the first beat to the fourth sixteenth note, the weakest, and as a result measure 54 contains 11 sixteenth notes instead of 8. Here is a rhythmic deformation that is unfortunate and bothersome (comparable to playing Etude op. 25 n° 2 in a 6/4 meter) and so common that even very good pianists play incorrectly.

Here is the excellent interpretation of Boris Berezovsky who, of course, avoids this error.

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Chopin - Etudes Introduction
Opus 10 n° 1 2 3 4 5
6
7 8
9
10
11
12v
Opus 25 n°
1
2
3
4
5
6
7v
8
9
10 11v
12
Opus posthumous n° 1v 2
3
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You are here: Practice 12. How to Study Chopin’s Etudes? Chopin - Etude in E Major, op. 10 n° 3