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Étude Op. 10, No. 1 in C major is a study for solo piano composed by Frédéric Chopin in 1829. It was first published in 1833 in France,〔("(French edition )"). Paris: M. Schlesinger, June 1833.〕 Germany,〔("(German edition )"). Leipzig: Fr. Kistner, August 1833 .〕 and England〔("(English edition )"). London: Wessel & Co, August 1833.〕 as the first piece of his ''Études Op. 10''. This study in reach and arpeggios focuses on stretching the fingers of the right hand. The American music critic James Huneker (1857–1921) compared the "hypnotic charm" that these "dizzy acclivities and descents exercise for eye as well as ear" to the frightening staircases in Giovanni Battista Piranesi's prints of the ''Carceri d'invenzione''.〔Huneker, James. "The Studies—Titanic Experiments." In ''Chopin: The Man and His Music''. New York: Charles Scribner's Sons, 1900.〕 Virtuoso pianist Vladimir Horowitz, who refused to perform this étude in public, said, "For me, the most difficult one of all (the études) is the C Major, the first one, Op. 10, No. 1."〔(Dubal, David. ''Evenings with Horowitz''. Amadeus Press, 2004 )〕 ==Structure and stylistic traits== The étude, like all études by Chopin, is in ternary form (A–B–A), recapitulating the first part. The first part of the middle section introduces chromaticism in the left hand octave melody while the second one modulates to the C major recapitulation via an extended circle of fifths. James Huneker states that Chopin wished to begin the "exposition of his wonderful technical system" with a "skeletonized statement" and compares the étude to a "tree stripped of its bark." 〔 Its harmonies resemble a chorale and its relationship to Bach’s Prelude No.1 in C major (BWV 846) from the ''Well Tempered Clavier'' has been noted by musicologist Hugo Leichtentritt (1874–1951), among others.〔Leichtentritt, Hugo. "Die Etüden." In ''(Analyse der Chopin’schen Klavierwerke )'' (of Chopin’s Piano Works ). Band II. Berlin: Max Hesses Verlag, 1922.〕 A fictional example of Chopin's harmonies with Bach's figuration and vice versa is given by British musicologist Jim Samson (born 1946).〔Samson, Jim. "Baroque reflections." In ''The Music of Chopin''. London: Routledge and Kegan Paul, 1985.〕 A harmonic reduction ("ground-melody") of the work can already be found in Czerny’s ''School of Practical Composition''.〔Czerny, Carl. ''School of Practical Composition'' London: R. Cocks & Co., (); Reprint, New York: Da Capo Press, 1979.〕 The work is to be executed at an ''Allegro'' tempo. Chopin’s metronome marking, given in the original sources, is MM 176 referring to quarter notes. The time-signature ''common time'' is according to the first French, English, and German editions.〔Palmer, W: ''Chopin Etudes for the Piano'', Alfred Publishing Co., Inc., 1992, p. 29.〕 A copy by Józef Linowski of Chopin's autograph reads cut time (alla breve).〔Ekier, Jan, ed. (National Edition). "Source Commentary." ''Chopin Etudes''. Warsaw: Polskie Wydawnictwo Muzyczne, 1999.〕 A slower tempo (MM 152) has been suggested by later editors such as Hans von Bülow who feared that at MM 176 "the majestic grandeur (be ) impaired."〔 There is no ''Maestoso'' indication by Chopin though. Unlike the fourth étude of Opus 10, which reaches ƒƒƒ, this one stays in ƒ throughout and never once reaches ƒƒ. Both right hand arpeggios and left hand octaves are to be played legato throughout. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Étude Op. 10, No. 1 (Chopin)」の詳細全文を読む スポンサード リンク
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