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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, Germany, and England 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 fashion involving both hands.
Contents
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. 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. 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. 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. 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. 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).
Character
American music critic James Huneker (1857–1921) believes that "despite its dark key color" this étude "bubbles with life and spurts flame." German pianist and composer Theodor Kullak (1818–1882) calls it a "bravura study for velocity and lightness in both hands. Accentuation fiery!" Leichtentritt calls the piece a "magnificent tone-painting’’ [prachtvolles Tongemälde] and "elemental sound experience" [elementares Klangerlebnis]:
[...] The expression of a restless fierce, almost savage, grim raging: The image of tossed up ocean waves breaking on a rocky coast, thundering and foaming, their spray splashing upwards, licking the rocks and quickly flowing down again. [...] the fascinating interplay of rushing, roaring, murmuring, rumbling, flowing, climbing, jumping, crashing, falling, all this without a single point of rest. [...] Bar 27: The playing waves seem to rest shortly on a projecting rock terrace and run for a short while in the plain (30 - 33), they fall step by step, suddenly drowned out by a new thunderous rush (33), which in its precipitous downfall dissolves into colored foam (35, 36). [...] Bars 41 - 44: A surging up and down with both hands; high up sends a wave its splash (44) and in mighty thunderous crash (ff con fuoco) the wave collapses on itself, running out on level plain (47 - 50), but always, even in ebbing, revealing its power through occasional sforzato chords of the left hand.
Chopin scholar Robert Collet believes that the study "has more than a hint of something elemental, demoniacal and even sinister." Italian composer and editor Alfredo Casella (1883–1947) states: "The piece should be finished with extreme impetuosity and without any relaxing, almost like a body hurled with great velocity [suddenly dashing] against an unexpected obstacle."
Technical difficulties
In Schumann’s NZM article on Pianoforte-Études, NZM (1836), the study is classified under the category "speed and lightness" [Schnelligkeit und Leichtigkeit]. Collet remarks that the procedure of transferring the semiquaver figuration from one hand to the other, common in Bach but rare in Chopin, "makes great demands on the left hand." Chopin [in other works] rarely treats the left hand "as if it were a second right hand." Chopin’s "zig zag" configuration of the semiquaver line hardly allows usage of the standard C-sharp minor scale fingering and invites pianists to use their thumb on black keys, treating them just like white ones. The result is a general absence of finger crossings, thus facilitating a quicker tempo. French pianist Alfred Cortot (1877–1962) states that the main difficulty to overcome is "regularity and briskness of attack" and the [very quick] alternation of narrow and wide hand positions. His preliminary exercises commence to address the narrow and wide positions separately.
Many editions cite pedaling, but none appears in the original editions, except at the last four bars (79-82).
Practice and Tips
A major difficulty of this piece are the turns in the 4th and 5th fingers and 1st and 2nd fingers (measures 25-30). A useful method to the passage is to practice in rhythms, 2,3,4,5,6,7, and 8. Rhythms are done by playing, for example, two consecutive notes fast and stopping on the third, then playing another three notes, again stopping on the third note, etc... This would be a rhythm of 3. This method can strengthen articulation as well as finger speed and agility.
The last arpeggio of the piece, in the very last measure of the Etude can also bring technical difficulties. Again, by practicing rhythms again, especially in 4, starting from different beats will help finger articulation.
Remember that the usefulness of these methods can vary between persons, based on hand and finger structure. If a method is painful or tense in the wrists especially, do not practice these methods excessively. If tension occurs in the arm, learn to relax, most likely tension occurs through natural stiffness in the body.
In this piece, relaxation and dominance of the keyboard is necessary, requiring arm weight as well as a strong upper arm inflection over the keys. Especially through the Etude, a sort of natural flowing motion is required throughout the arpeggios and scales. Tension will make the sound rather strained, relaxation will make the piece natural as well as pleasant to the ear.
A crucial thing to remember is that while many passages of the Etude will be tempting to play forte, excessive loud playing will leave little room to play very strongly in the climaxes of the piece. Sometimes a soft, fast, and whispering sound will create more tension and energy than a fast and loud build-up.
Interpretation of the piece is yours to choose, as long as it is within the appropriate boundaries of the piece. These are just ideas and tips that can or cannot be used.
Arrangements
Leopold Godowsky’s version for the left hand alone in his 53 Studies on Chopin's Études "retains most elements of the model." but presents a challenge to the performer who tries to "retain the full emotional impact of the original."