Stamaty Etude in F Major Op.38, no.2

[1piano4joe]

Hi all,

I started learning this piece over 3 years ago but put it aside. I am now returning to it and have several questions:

1. It starts out "Allegro Moderato" but the penultimate measure has another tempo marking "Lento".  I have never seen two tempo markings in one piece before. Do you just immediately "stop short" and start playing at the new tempo? Can anyone name another piece where they have observed this?

2. Measures 36-end have fast repeated 16ths. The "Handbook for Teachers" says, "The absence of fingering indicates that the performer does not need to change fingers on the repeated notes". It goes on to talk about a drop-lift gesture. "First, play one then two, then three and then four notes with a drop. Second, practice one, two, three and then four notes with a lift". I don't know about all that but I find this the hardest part of this piece. Exactly how fast can one be expected to play repeated notes without changing fingers? Also, I have an upright which limits repeated note speeds but I'm pretty sure I'm the problem and not the piano.

3. Wikipedia says, "Stamaty's studies are similar to those of Czerny" but he seems much more obscure. He doesn't seem to be talked about much. Why is that?

Anyway, I practiced the piece according to the form [A],B,[A1],Coda. And am giving special attention to specific problem areas that I have.

Thursday, 8/27/20 [A] H.T. at 40 b.p.m. session #1, and B,[A1] and Coda H.T. at 32 b.p.m. session #2. Apparently, the [A] section is easier.

Friday, 8/28/20 B, [A1] and Coda H.T. at 40 b.p.m. Beginning to wonder if I'm still not ready for this piece.

Saturday, 8/29/20 [A] H.T. at 60 b.p.m. and whole piece beginning to end at 27 b.p.m.

Sunday, 8/30/20 "B" section worked up to H.T. 50 b.p.m. day session and [A1] and Coda at 70 b.p.m. night session and whole piece at 33 b.p.m.

Monday, 8/31/20 I did not practice any "sections" and instead worked the tempo up from beginning to end to a final tempo of 51 b.p.m. This is without pauses, hesitations, note perfect and starting to play with a better understanding of the piece. I do like to play the staccato quarters not as short as the staccato 8ths (12ths) like in measures 2,4,10,12,18,20,25, and 27. It just sounds better that way and more musical to me.

Tuesday day, 9/1/20 The "B" section now at 70 b.p.m. (Yeaaaa...). Whole piece worked up to 55 b.p.m. I guess I'm getting there. Starting to sound like something actually. I think I'm playing the staccatos too pointed. Sounds better with them a little longer.

Tuesday night, 9/1/20 The whole piece beginning to end at 70 b.p.m. which rounds to 80% of full tempo. Thinking maybe to give this piece a rest (and my hands) and come back at a later time. Hoping some PPI does some magic. I knew at the outset that the tempo was improbable but I did achieve more than I thought I could and in a relatively short time. Generally, I'm not one to spend weeks or longer on a piece. Maybe if I did I could reach that tempo of 88 b.p.m. Well, I'll think about spending another day or two and see what (if any) progress I make. Many more fish to fry!

I have had to give special attention to measures 7, 15, 42  and especially 23.

Am I going about this a good way? Am I making good progress for only 6 days? Is this piece too hard for me? Do all sections need to be at performance tempo before joining them?

Lastly, I'm trying those fast repeated notes without my finger leaving the key (like it is glued to it). I'm using some wrist rotation and a light touch. I've been experimenting with a sort of circular movement but even H.S. I can't quite reach 88 b.p.m. on these repeated notes.

According to Wikipedia, "Stamaty's piano technique has its roots in the piano manufacturing craft of the first decades of the 19th century. Most pianos manufactured in France before 1850 had a light action and an easy touch. These pianos were ideal for the execution of rapid scales, facile arpeggios and quickly repeated notes. This resulted in an elegant and glittering bravura playing ideally suited for salons and smaller venues."

I looked on IMSLP at some of his other etudes and they do seem to emphasize rapid scales, facile arpeggios and quickly repeated notes as does this piece.

That's all for now, Joe.