FOOTNOTES:[20]Bach's "Well-tempered Clavichord" is an example of a work to which, since its beauty is largely one of line, the piano cannot do justice. See, for instance, Prelude IV, in C-sharp minor, in the first book, measures 4-7, inclusive. The tenor part, of a wonderful nobility, is concealed by the more rapidly moving, and therefore on the piano more sonorous, soprano. In order fully to bring it to our consciousness we must sing or otherwise reinforce it.[21]Schumann reports of Chopin's playing of this étude: "It would be a mistake to suppose that he brought out every one of the little notes with distinctness; it was more like a billowing of the A-flat major chord, swelled anew here and there by means of the pedal; but through the harmonies were heard the sustained tones of a wondrous melody, and only in the middle of it did a tenor part once come into greater prominence amid the chords, along with that principal cantilena."[22]Of course, the amount of dissonance acceptable is not a fixed quantity, but increases as the perceptive power of the ear develops.[23]More daringly, because the lower the pitch of a dissonant tone, the greater the number of its audible harmonics, and hence the greater the degree of its obscuration of the harmony. Even a consonance, such as the major third, sounds "muddy" when placed in the lower register. Readers interested in this matter should consult some convenient handbook of acoustics, such as Broadhouse's "The Student's Helmholtz," on the subjects of harmonics or partial tones, sympathetic vibration, etc., and Mr. Arthur Whiting's "Pedal Studies," for a highly suggestive discussion of color in piano music.[24]It is, however, interesting to note that, lavish as Chopin's use of the pedal seems when compared to the general practice of his time, the fondness for the turbid and cloudy colors produced by commingled dissonances has grown so rapidly that to-day we prefer sometimes even more pedal than he gives us. In the Ballade, opus 52, during that brilliant passage which debouches into the simple chords in B-flat major, modern taste would prefer a continuous pedal through six measures, instead of through only three, as Chopin has directed. We should also blur the eleventh Étude more recklessly than he does, and many other instances will occur to the reader.[25]Schwärmerisch—visionary, imaginative, dreamy.[26]Three of his pieces are dedicated to baronesses, nine to countesses, and four to princesses.[27]It is noteworthy that most of these compositions bear opus numbers higher than 40, and belong to the last decade of the composer's life.[28]Cf. also the subsequent, even more extended, treatment in the sequel.[29]It may be asked why, possessing this enviablelongue haleine, Chopin did not turn it to better advantage in writing his sonatas and concertos, which are structurally not satisfactory examples of their types. In answer it may be suggested (1) that in the concertos he was hampered by the orchestra, his technique being essentially pianistic; and (2) that his melodies, however broad in scope, are generally lyrical in character, and hence not adapted to symphonic treatment. With his characteristic caution, however, he used these most extended forms but sparingly; and in the more rhapsodic long forms, such as the polonaises and ballades on a large scale, he is highly successful.
FOOTNOTES:[20]Bach's "Well-tempered Clavichord" is an example of a work to which, since its beauty is largely one of line, the piano cannot do justice. See, for instance, Prelude IV, in C-sharp minor, in the first book, measures 4-7, inclusive. The tenor part, of a wonderful nobility, is concealed by the more rapidly moving, and therefore on the piano more sonorous, soprano. In order fully to bring it to our consciousness we must sing or otherwise reinforce it.[21]Schumann reports of Chopin's playing of this étude: "It would be a mistake to suppose that he brought out every one of the little notes with distinctness; it was more like a billowing of the A-flat major chord, swelled anew here and there by means of the pedal; but through the harmonies were heard the sustained tones of a wondrous melody, and only in the middle of it did a tenor part once come into greater prominence amid the chords, along with that principal cantilena."[22]Of course, the amount of dissonance acceptable is not a fixed quantity, but increases as the perceptive power of the ear develops.[23]More daringly, because the lower the pitch of a dissonant tone, the greater the number of its audible harmonics, and hence the greater the degree of its obscuration of the harmony. Even a consonance, such as the major third, sounds "muddy" when placed in the lower register. Readers interested in this matter should consult some convenient handbook of acoustics, such as Broadhouse's "The Student's Helmholtz," on the subjects of harmonics or partial tones, sympathetic vibration, etc., and Mr. Arthur Whiting's "Pedal Studies," for a highly suggestive discussion of color in piano music.[24]It is, however, interesting to note that, lavish as Chopin's use of the pedal seems when compared to the general practice of his time, the fondness for the turbid and cloudy colors produced by commingled dissonances has grown so rapidly that to-day we prefer sometimes even more pedal than he gives us. In the Ballade, opus 52, during that brilliant passage which debouches into the simple chords in B-flat major, modern taste would prefer a continuous pedal through six measures, instead of through only three, as Chopin has directed. We should also blur the eleventh Étude more recklessly than he does, and many other instances will occur to the reader.[25]Schwärmerisch—visionary, imaginative, dreamy.[26]Three of his pieces are dedicated to baronesses, nine to countesses, and four to princesses.[27]It is noteworthy that most of these compositions bear opus numbers higher than 40, and belong to the last decade of the composer's life.[28]Cf. also the subsequent, even more extended, treatment in the sequel.[29]It may be asked why, possessing this enviablelongue haleine, Chopin did not turn it to better advantage in writing his sonatas and concertos, which are structurally not satisfactory examples of their types. In answer it may be suggested (1) that in the concertos he was hampered by the orchestra, his technique being essentially pianistic; and (2) that his melodies, however broad in scope, are generally lyrical in character, and hence not adapted to symphonic treatment. With his characteristic caution, however, he used these most extended forms but sparingly; and in the more rhapsodic long forms, such as the polonaises and ballades on a large scale, he is highly successful.
FOOTNOTES:
[20]Bach's "Well-tempered Clavichord" is an example of a work to which, since its beauty is largely one of line, the piano cannot do justice. See, for instance, Prelude IV, in C-sharp minor, in the first book, measures 4-7, inclusive. The tenor part, of a wonderful nobility, is concealed by the more rapidly moving, and therefore on the piano more sonorous, soprano. In order fully to bring it to our consciousness we must sing or otherwise reinforce it.
[20]Bach's "Well-tempered Clavichord" is an example of a work to which, since its beauty is largely one of line, the piano cannot do justice. See, for instance, Prelude IV, in C-sharp minor, in the first book, measures 4-7, inclusive. The tenor part, of a wonderful nobility, is concealed by the more rapidly moving, and therefore on the piano more sonorous, soprano. In order fully to bring it to our consciousness we must sing or otherwise reinforce it.
[21]Schumann reports of Chopin's playing of this étude: "It would be a mistake to suppose that he brought out every one of the little notes with distinctness; it was more like a billowing of the A-flat major chord, swelled anew here and there by means of the pedal; but through the harmonies were heard the sustained tones of a wondrous melody, and only in the middle of it did a tenor part once come into greater prominence amid the chords, along with that principal cantilena."
[21]Schumann reports of Chopin's playing of this étude: "It would be a mistake to suppose that he brought out every one of the little notes with distinctness; it was more like a billowing of the A-flat major chord, swelled anew here and there by means of the pedal; but through the harmonies were heard the sustained tones of a wondrous melody, and only in the middle of it did a tenor part once come into greater prominence amid the chords, along with that principal cantilena."
[22]Of course, the amount of dissonance acceptable is not a fixed quantity, but increases as the perceptive power of the ear develops.
[22]Of course, the amount of dissonance acceptable is not a fixed quantity, but increases as the perceptive power of the ear develops.
[23]More daringly, because the lower the pitch of a dissonant tone, the greater the number of its audible harmonics, and hence the greater the degree of its obscuration of the harmony. Even a consonance, such as the major third, sounds "muddy" when placed in the lower register. Readers interested in this matter should consult some convenient handbook of acoustics, such as Broadhouse's "The Student's Helmholtz," on the subjects of harmonics or partial tones, sympathetic vibration, etc., and Mr. Arthur Whiting's "Pedal Studies," for a highly suggestive discussion of color in piano music.
[23]More daringly, because the lower the pitch of a dissonant tone, the greater the number of its audible harmonics, and hence the greater the degree of its obscuration of the harmony. Even a consonance, such as the major third, sounds "muddy" when placed in the lower register. Readers interested in this matter should consult some convenient handbook of acoustics, such as Broadhouse's "The Student's Helmholtz," on the subjects of harmonics or partial tones, sympathetic vibration, etc., and Mr. Arthur Whiting's "Pedal Studies," for a highly suggestive discussion of color in piano music.
[24]It is, however, interesting to note that, lavish as Chopin's use of the pedal seems when compared to the general practice of his time, the fondness for the turbid and cloudy colors produced by commingled dissonances has grown so rapidly that to-day we prefer sometimes even more pedal than he gives us. In the Ballade, opus 52, during that brilliant passage which debouches into the simple chords in B-flat major, modern taste would prefer a continuous pedal through six measures, instead of through only three, as Chopin has directed. We should also blur the eleventh Étude more recklessly than he does, and many other instances will occur to the reader.
[24]It is, however, interesting to note that, lavish as Chopin's use of the pedal seems when compared to the general practice of his time, the fondness for the turbid and cloudy colors produced by commingled dissonances has grown so rapidly that to-day we prefer sometimes even more pedal than he gives us. In the Ballade, opus 52, during that brilliant passage which debouches into the simple chords in B-flat major, modern taste would prefer a continuous pedal through six measures, instead of through only three, as Chopin has directed. We should also blur the eleventh Étude more recklessly than he does, and many other instances will occur to the reader.
[25]Schwärmerisch—visionary, imaginative, dreamy.
[25]Schwärmerisch—visionary, imaginative, dreamy.
[26]Three of his pieces are dedicated to baronesses, nine to countesses, and four to princesses.
[26]Three of his pieces are dedicated to baronesses, nine to countesses, and four to princesses.
[27]It is noteworthy that most of these compositions bear opus numbers higher than 40, and belong to the last decade of the composer's life.
[27]It is noteworthy that most of these compositions bear opus numbers higher than 40, and belong to the last decade of the composer's life.
[28]Cf. also the subsequent, even more extended, treatment in the sequel.
[28]Cf. also the subsequent, even more extended, treatment in the sequel.
[29]It may be asked why, possessing this enviablelongue haleine, Chopin did not turn it to better advantage in writing his sonatas and concertos, which are structurally not satisfactory examples of their types. In answer it may be suggested (1) that in the concertos he was hampered by the orchestra, his technique being essentially pianistic; and (2) that his melodies, however broad in scope, are generally lyrical in character, and hence not adapted to symphonic treatment. With his characteristic caution, however, he used these most extended forms but sparingly; and in the more rhapsodic long forms, such as the polonaises and ballades on a large scale, he is highly successful.
[29]It may be asked why, possessing this enviablelongue haleine, Chopin did not turn it to better advantage in writing his sonatas and concertos, which are structurally not satisfactory examples of their types. In answer it may be suggested (1) that in the concertos he was hampered by the orchestra, his technique being essentially pianistic; and (2) that his melodies, however broad in scope, are generally lyrical in character, and hence not adapted to symphonic treatment. With his characteristic caution, however, he used these most extended forms but sparingly; and in the more rhapsodic long forms, such as the polonaises and ballades on a large scale, he is highly successful.