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Étude Op. 10, No. 4, in C-sharp minor, is a study for solo piano composed by Frédéric Chopin in 1830. 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 fourth piece of his ''Études Op. 10''. This passionate study, a very fast ''Presto con fuoco'', features continuous sixteenth notes (semiquavers), in perpetuum mobile〔Leichtentritt, Hugo. "Die Etüden." In ''(Analyse der Chopin’schen Klavierwerke )'' (of Chopin’s Piano Works ). Band II. Berlin: Max Hesses Verlag, 1922, p. 100.〕 fashion involving both hands. == Structure and stylistic traits == Like all of Chopin’s other études this work is in A-B-A form though the B section does not represent a contrasting and independent middle section in the manner of a trio.〔Leichtentritt, p. 100〕 The entire piece is based on the same semiquaver motif, which springs from its opening strong sforzato accent to rapidly increase its volume and compass until ending abruptly on a strong sforzato climax.〔Leichtentritt, p. 101〕 Musicologist Hugo Leichtentritt (1874–1951) presents a graphic curve which illustrates the aggressive character of the motive expanding from second to eleventh in less than three bars. Remarkable is the plenitude of crescendi, accents and sforzati with hardly any diminuendo signs. Leichtentritt compares the manner in which the motif is developed, especially the 4-bar alternations of left and right hand in the rendition of the theme, to certain Bach preludes, or to the ''Gigue'' of Bach’s ''English Suite No. 6''.〔Leichtentritt, p. 102〕 In the B section these alternating sequences are shortened to two bars and the frequency of sforzati and accents rises. Leichtentritt believes that in fast tempo the sforzati climaxes in bars 16 - 45 can be perceived as a coherent contour line.〔Leichtentritt, p. 103〕 Again, as in the C major étude, Chopin achieves powerful sound effects with arpeggios in tenths on diminished seventh chords. After the climax, ''ff'', ''con forza'' (45 - 47), a more transparent bridge leads to the return of the A section which recapitulates the first two eight-bar periods extending the cadence by four extra bars, increasing to ''fff'' and preparing the raging Coda, ''con più fuoco possibile'' (as fiery as possible). Chopin scholar Simon Finlow observes that a very similar passage occurs a decade before Chopin in the Rondo of Hummel’s Piano Concerto No. 2 Op. 85. In Hummel though the purpose of the semiquaver figure is to "decorate a chromatic sequence" whereas in Chopin the figure "embodies a motivic structure that permeates the entire composition" and reaches a "dramatic apotheosis" in the Coda.〔Finlow, Simon."(Twenty-seven Études and Their Antecedents." ) In Jim Samson (ed.), ''The Cambridge Companion to Chopin''. Cambridge: Cambridge University Press, 1992, p. 54.〕 Another remarkable trait is the upbeat character of the motif likewise permeating the entire piece. Like in the first two études of Op. 10 a rough copy autograph reads cut time (alla breve), further supported by the metronome mark MM 88 referring to half notes (rather than MM 176 referring to quarter notes). 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. 4 (Chopin)」の詳細全文を読む スポンサード リンク
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