Sheet music

Étude Opus 10 No. 12 in C Minor

1 part7 pages02:076 years ago25,210 views
Étude Op. 10, No. 12 in C minor, known as the Revolutionary Étude or the Étude on the Bombardment of Warsaw, is a solo piano work by Frédéric Chopin written circa 1831, and the last in his first set, Etudes Op.10, dedicated "à son ami Franz Liszt" ("to his friend Franz Liszt").

The 12th Étude appeared around the same time as the November Uprising in 1831. Chopin poured his emotions on the matter into many pieces that he composed at that time, the "Revolutionary Étude" standing out as the most notable example. Upon conclusion of Poland's failed revolution against Russia, he cried "All this has caused me much pain. Who could have foreseen it!"

Unlike études of prior periods (works designed to emphasize and develop particular aspects of musical technique), the romantic études of composers such as Chopin and Liszt are fully developed musical concert pieces, but still continue to represent a goal of developing stronger technique.

In the case of the 12th Étude, the technique required in the opening bars is playing long, loud descending runs extremely fast in mainly the left hand, which forms a dominant seventh chord (or diminished seventh chord) introductory build-up to the main theme. The length and the repetition of these rapid passages distinguishes the Revolutionary from other Études.

Although the greatest challenge lies with the relentless left hand semiquavers, the right hand is also challenged by the cross-rhythms which are used with increasing sophistication to handle the same theme in various successive parallel passages.

The left hand technique in this piece involves evenly played semiquavers throughout. The structure is of the strophic coda form (A A'). The opening broken chords (diminished chord with an added passing note) and downward passages transition into the main appassionato melody. The octave melody's dotted rhythms and the continuous accompaniment give an impression of tension. The piece ends by recalling the opening in a final descending sweep (with both hands) descending to a C major chord, although within a context that draws its expected function as a resolution into question.

The end of the 12th Étude alludes to Beethoven's last piano sonata, written in the same key—a piece Chopin is known to have greatly admired (compare bars 77–81 in the Étude to bars 150–152 in the first movement (also ending in C major) of Beethoven's sonata.
Found in Community


Share sheet music Etude op. 10-12 "Revolutionary" Chopin! Please!!!~abelable
The most difficult music I've played were Kreisleriana, op. 16 (Schumann, Robert), revolutionary étude (Chopin) and Ballad No 1 (Chopin)And you?
My list (it's pretty long)Bartok Concerto for Orchestra sz.116 1.IntroduzioneMars and Jupiter from The Planets - HolstNight on Bald Mountain - Liszt Moonlight Sonata 3rd Movement - BeethovenNuvole Bianche -  Ludivico EinaudiSummer from The Four Seasons - VivaldiRevolutionary Etude - ChopinWinter Wind Etude - ChopinDanse Macabre -  Saint SaensCarmen Prelude - BizetDance of the Knights - ProkofievMother Ginger from The Nutcracker - TchaikovskyArabian Dance and Russian Dance from The Nutcracker - TchaikovskyRide of the Valkyries - WagnerFuneral March - ChopinThrenody for the Victims of Hiroshima -  Krzysztof PendereckiUpdate 1:Piano Sonata no.8 in C minor (Pathetique) -2.Adagio Cantabile - BeethovenCaprices for violin no.24 - PaganiniLa Campanella  - LisztMoment Musical 3 - SchubertInvention no. 13 - BachJig from St. Paul's Suite - Holst*I'll update as I think of more*

Nightingale Rag

1 part4 pages03:292 years ago886 views
Joseph Lamb (born in New Jersey in 1887) is considered one of the three great composers of ragtime, along with Scott Joplin and James Scott. Between 1908 and 1919, while living in Montclair, New Jersey, and working in a New York City fabric house, Joe Lamb composed some of the most brilliant ragtime tunes published in America. The story behind “Ragtime Nightingale” (published by Stark in 1915) is that Lamb had been a fan of Ragtime Oriole by Missouri composer Scott, who was also published regularly by Stark. Deciding to create his own bird call rag, he mixed two classical pieces into one in this ragtime piece. He took the bass line of the beginning of the Revolutionary Etude by Chopin and wrote his own melody over a modified version of it. After a melodic trio that emulates bird calls, he inserted a phrase from The Nightingale's Song by Ethelbert Nevin as a bridge back to the closing B section. The end result is what has been called the "lullaby of ragtime."

Moments Musicaux Opus 16, No. 4 in E Minor

1 part7 pages02:326 years ago12,968 views
Six moments musicaux (French for "Six Musical Moments"; Russian: Шесть Музыкальных Моментов), Op. 16, is a set of solo piano pieces composed by the Russian composer Sergei Rachmaninoff between October and December, 1896. Moments musicaux comprises a group of six separate works which reproduce musical forms characteristic of previous musical eras. The forms that appear in Rachmaninoff's incarnation are the nocturne, song without words, barcarolle, virtuoso étude, and theme and variations.

The individual pieces have been described as "true concert works, being best served on a stage and with a concert grand." Although composed as part of a set, each piece stands on its own as a concert solo with individual themes and moods. The pieces span a variety of themes ranging from the somber funeral march of number three to the majestic canon of number six, the Moments musicaux are both Rachmaninoff's return to and revolution of solo piano composition. A typical performance lasts 30 minutes.

In an interview in 1941, Rachmaninoff said, "What I try to do, when writing down my music, is to make it say simply and directly that which is in my heart when I am composing." Even though Moments musicaux were written because he was short of money, the pieces summarize his knowledge of piano composition up to that point. Andantino opens the set with a long, reflective melody that develops into a rapid climax. The second piece, Allegretto, is the first of the few in the set that reveal his mastery of piano technique. Andante cantabile is a contrast to its two surrounding pieces, explicitly named "funeral march" and "lament." Presto draws inspiration from several sources, including the Preludes of Frédéric Chopin, to synthesize an explosion of melodic intensity. The fifth, Adagio sostenuto is a respite in barcarolle form, before the finale Maestoso, which closes the set in a thick three-part texture. In six musical moments, Rachmaninoff illustrates completely, "that which is in my heart."

The fourth piece is similar to the second in the quality of its performance. The fourth piece reveals resemblance to Chopin's Revolutionary étude in the taxing left hand figure place throughout. Further it looks, sounds, and feels as if it were an improvisation on Chopin's Prelude in G major (Op. 28, No. 3). The piece is 67 measures long, with a duration of about three minutes, and has the fastest tempo of the set, Presto (quick) at 104 quarter notes per minute, and is the shortest work in terms of playing time.

Presto is in ternary form with a coda. The piece begins with a fortissimo introduction with a thick texture in the left hand consisting of chromatic sextuplets. The melody is a "rising quasi-military" idea, interspersed between replications of the left hand figure, the mostly two-note melody being a strong unifying element. The middle section is a brief period of pianississimo falling figures in the right hand and rising scales in the left. The third section is marked Più vivo (more life) and is played even faster than the intro, 112 quarter notes per minute. At this point the piece develops a very thick texture, with the original left hand figure played in both hands in varying registers. The technique of rapidly changing the octave in which a melody is played, sometimes called "registral displacement", is used to present the figure in a more dramatic form that increases the intensity of the ending. The ending, a coda in Prestissimo (very quick), 116 quarter notes per minute, is a final, sweeping reiteration of the theme that closes in a heavy E minor chord, which revisits Rachmaninoff's preoccupation with bell sounds, prominent in his Piano Concerto No. 2 and Prelude in C♯ minor (Op. 3, No. 2).

The piece is a major exercise in endurance and accuracy: the introduction opens in a left hand figure requiring span of a tenth interval. Additionally, octave intervals invariably appear before fast sextuplet runs, making quick wrists and arm action necessary. The double melodies Rachmaninoff uses in this work exists purposely to "keep both hands occupied," obscuring the melody and making it difficult for the right hand to project. This is the only piece in the set with indicated pedal markings.