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Piano Street Magazine:
The Quiet Revolutionary of the Piano – Fauré’s Complete Piano Works Now on Piano Street

In the pantheon of French music, Gabriel Fauré (1845–1924) often seems a paradox—an innovator cloaked in restraint, a Romantic by birth who shaped the contours of modern French music with quiet insistence. Piano Street now provides sheet music for his complete piano works: a body of music that resists spectacle, even as it brims with invention and brilliance. Read more

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Topic: Chopin butterfly etude (Read 6406 times)

chopinisque

PS Silver Member
Full Member
Posts: 227

Chopin butterfly etude

on: November 11, 2007, 05:28:42 AM

Hello, I just want to ask if I should play the staccatos in this piece from the wrist or arm(elbow?). Staccato from the arms is much more tiring. So I was thinking that I should lift from the wrists instead. Or should I use a mix? $:-\$

Also, should I keep the accents/stresses for the strong beats as written at the strat throughout the whole thing or should I leave them out for the > and < bits?

Thanks!

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Mad about Chopin.

pianogeek_cz

PS Silver Member
Sr. Member
Posts: 448

Re: Chopin butterfly etude

Reply #1 on: November 11, 2007, 11:38:46 AM

No elbow involved, definitely. Wrist. And active fingers, too (think pointy fingertips).

The accentuation thingy... it depends, I think, on your perception of the piece. Mine is very close to this one:

However, this, I think, can be said: The way the left hand is written (bass note on the beat) is an accentuation by itself, there's no default need for extra emphasis in the right hand. The RH should follow the phrasing of the melody (which may dictate an accent here or there, though); the main rhythmic device lies in the accompanying LH part.

Hope this helps.

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