CHOPIN ETUDES CORTOT PDF

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Page 1. Page 2. Page 3. Page 4. Page 5. Page 6. Page 7. Page 8. Page 9. Page Page Page Page Page Page Page Page Page (The following text was automatically transcluded from Category:Cortot, Alfred.) Edition Nationale · Études, Op (Chopin, Frédéric) · Études, Op (Chopin. After examining Cortot's study edition of the Chopin Etudes and establishing the the individual Chopin Etudes through Alfred Cortot's preparatory exercises.


Chopin Etudes Cortot Pdf

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Cortot Chopin ditaremcico.tk - Download as PDF File .pdf) or read online. Chopin Op 10 Etudes (Cortot Edition) - Download as PDF File .pdf), Text File .txt ) or read online. Hello people. I am tired of looking for this edition of Chopin Etudes (in pdf) in the net, edonkey, google, gamingforce, ecc, unsuccesfully: \.

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]".

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Australian pianist Alan Kogosowski born recommends keeping 1 and 2 completely relaxed while playing the top voice alone: The "little two-note chords on each beat in the right hand" should be released "as soon as they've been played.

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.

The first one is for the left hand alone while the popular second one, Ignis Fatuus will-o'-the-wisp , is an exercise in polyrhythm superimposing Chopin's right-hand part transposed to the left hand with triplet two-note chords in the right hand.

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. New York: Charles Scribner's Sons, Berlin: Max Hesses Verlag, Studi per pianoforte. Milano: Edizioni Curci, Leipzig: H.

Probst, , reprint Kistner, , No. Studienbuch [Study Book]. Berlin: Bruno Cassirer, , p. Was it exactly the standard When the discs were digitised was the turntable running at exactly the same speed? Has the transfer engineer made any adjustments in software to even out the pitches of successive sides in the set, or because the side ended up at a higher or lower pitch than it began? All these things happen regularly. And when you change the speed of an analogue record- ing you change the pitch as well.

It is impossible to trust a modern transfer unless you made it yourself with very accurate equipment including a speed display. But even so, how do we know that Cortot was really playing this piece at exactly the same speed in and ? A responsible study has to begin by looking into this.

In the take of Preludes 7—10 that was eventually issued was re- corded the day before the takes used for the other sides. Two other recording sessions, with di! We do not know whether they happened in di! In the set Preludes 11—14 were in fact taken from a set Cortot recorded the previous December, six months earlier. Neither the nor the set was o"cially issued, and these takes survive by chance as substitutes on discs issued under the same catalogue number as the set.

downloaders presumably believed unless they understood matrix numbers that they were acquiring the same performances all along. The usual explanation for situations like this, where record companies issue other takes under the same catalogue number, is that the disc has been so popular that the metal stampers for the Daniel Leech-Wilkinson equipment was reliable and the piano stable, on the other hand, from the set Preludes 1—6 and 11—14 should be tuned the same; but 7—10 could di!

That is the speed at which Andrew Hallifax chose to transfer these sides in order to come close to A The good news is that there is a convincing pattern in the pitch measurements, suggest- ing that Sonic Visualiser is giving us relatively accurate data.

Before we can make exact comparisons between the performances we have to make some choices. Speeding up Preludes 7—10 from to match the others seems an easy decision. It remains to be discovered through research at the EMI Archive, currently inaccessible whether that was the case here. Or the recording lathe might have been running at a di! In that case the recording is misrepresenting Cortot and we need to change the playback speed.

Either change might have been caused by the weather, but in fact the weather in London and therefore probably also the humidity was much the same on both days.

A partly cloudy morning, and overcast afternoon. An Easterly breeze all day.

Total of 3. Max temp 45 degrees Fahrenheit 7 degrees Celcius , Min 31 Fahrenheit minus 0.

Étude Opus 10 No. 1 in C Major

Easterly breeze. Even so, there is no way of knowing what conditions were like in the studio or in the machine room. So we have to choose without enough evidence. They were recorded in a di! The piano could easily have been at a di! Because I am going to be comparing the disc with its counterpart from I have chosen to match their pitches, but I may not be cor- rect to do so.

So when I say that the and Prelude 6 recordings are so close as to be identical at all the major phrase boundaries in the piece, what I am actually saying is that this is true at the playback speeds shown in the table.

Liszt - S139 Transcendental Etudes (Cortot)

At other speeds one might choose they would be un-synchronised. I do not think it would be wise to use the evidence of synchronisation to argue for the speeds being correct. Cortot may very well not have had this hypothetical internal clock that produced identical timings for musical forms.

But at least we can safely say that even if the perform- ance speeds and absolute timings were slightly di! And that is still fairly remarkable in showing just how pre- cisely a performer, or at least this performer, can give the same, intensely powerful performance on widely separated occasions.

In fact, for each set and sides 2—4 each contain at least one performance that is faster and one that is slower than in the other set. Preludes 1 and 3 are very close, but Prelude 2 takes eleven seconds longer: it is a much slower performance. So there is no evidence here for further adjustments of the playback speed. The chal- lenge that remains, therefore, is to work out how similar are those performances whose overall timings are close.

This allows us to play them simultaneously and, when one gets of out step with another, to move it forward or back so as to return it to synchronisation. This makes it easy to hear when Cortot changes his rubato, and when he keeps it identical. Prelude 1 o! As we can see from Table 1, the pitches of the and per- formances are slightly di!

Bars 1—6 are almost identical, but Cortot takes slightly less time over bb. Sound Example 3 plays the result of synchro- nising the two performances again from b. So here are two pieces to which Cortot was giving an identical performance of the opening sections, albeit at fractionally di!

Not as similar as the Prelude 6 performances, then, but not much di! The Prelude 10 performances in every other respect are iden- tical. There is no reason to suppose that he did, unless one wishes to construct a complex hypothetical argument about the piano being retuned between the sessions on 23 March, which is possible but not documented in any other way so far as I can tell. Horizontal axis is time, vertical axis is frequency.

I am making a distinction here between an interpretation and a performance. I am using interpretation to mean a set of relative loudnesses and timings given to the notes in the score, but that set can be performed at di! And then of course any of those loudnesses and timings can be changed, adjusting the interpretation more or less noticeably.

I am not trying to set up new theoretical categories here — my use of these terms is completely conven- tional — I am simply emphasising that for Cortot and indeed for most performers an interpretation changes rather less than do performances of it.

Sound Example 6 plays Prelude 11 with the speed Daniel Leech-Wilkinson and pitch of the recording lowered to match I think this is quite telling Sound Example 7. Can we put these observations into a wider context?

By the cycle they have shifted a lit- tle further, and still more so by the time of the set.

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As Table 2 shows, the fast Preludes generally slow down as the years go by, understandably perhaps, while the slow ones simply change. In line with that tendency it is the fast pieces whose essential shape — the interpretation — remains unchanged while the slow ones vary more freely, though never enough for there to be any doubt that we are listening to a Cortot performance.

This sheds further light, I think, on the ways in which both personal and general performance styles change over time.

We know, because recordings show us, that general styles change radically quite quickly. In a further study I have shown how that rate of later change can be observed and measured in the work of a single performer. To use it you also need the two sound files Prel 11 Once SV is installed and working on your computer, open Data File 1. For readers unable to use SV a screen shot is included as Plate 1. Some of his early performances continue to seem right to him throughout his life.

Others change a little more. But overall his style shifts very little to follow the rapid changes going on around him. The idea that at a concert he just played as his fancy took him seems quite deeply ingrained, to judge by widely-read comments online. At the time of writing 16 November the following appear first on www.

Speeds might vary slightly, and also degrees of rubato at particular moments, with appropriate changes of loudness to match, but sometimes they remained identical for several years. Cortot the dreamer of musical performances is as mythical as Cortot the unworldly artist. Control was integral to his way of life, control disguised as fantasy. I do not say it was mechanically reproduced, because I think that would be unfair and overstating the case. It was simply that the remak- ing happened to such a fully worked-out template that little was likely to turn out very di!

Cortot as communicator Prelude 7 is especially interesting from this point of view. Premeditate nothing [.

Perhaps these tiny di! Data File 2 Plate 2 aligns the and performances as spec- trographs. Alfred Cortot, Paris , R , p. For readers with- out SV, a screen shot of the performance is included as Plate 2. Vertical lines mark bars in the score. The green graph shows loud- ness.

The red and white graphs show rubato at the bar level.Australian pianist Alan Kogosowski born recommends keeping 1 and 2 completely relaxed while playing the top voice alone: The "little two-note chords on each beat in the right hand" should be released "as soon as they've been played. Check it out here.

Particularly it enables the comparison of one performance with another in a way that does not rely on our fallible memories of sound. A fictional example of Chopin's harmonies with Bach's figuration and vice versa is given by British musicologist Jim Samson born The many aspects of Cortot o!

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