I have been trying to memorise a challenging section from Chopin’s stunningly beautiful Etude no. 3 in E major.
The only way I have been able to approach this is to make a fairly detailed analysis of the music to find out what is going on in what is clearly a complicated section of the piece.
To anyone who does not read music this will look like some sort of complex code – which of course is exactly what it is; a code that musicians are trained to understand and interpret.
The first thing I did was photocopy this section and cut it up into smaller sections to make the whole thing a little less daunting.
Realising that this section is a series of diminished 7ths was of course the easy bit with the two hands making mirror images of each other. I focused on the right hand part and blocked out each chord change as you can see in green – and a pattern emerged.
All the changes in diminished 7ths are a semitone apart except for one in the middle of the section which is a tone – however sometimes the semitone move is up and sometimes down; again a pattern emerged.
The final piece of the puzzle was to realise that sometimes each musical phrase goes up then down – and sometimes down then up; with an ABA structure for each 6 chord phrase. I ended up with my own ‘code’ for the structure as follows.
(2+2)
u(2+2+2)
d2 / d2
d(2+2+2) ut(2+2+2)
d2 / d2
d(2+2+2) u(2+2+2)
d2 / d2 / d2 / d2
pattern down pattern up
u = up semitone d = down semitone ut = up a tone
This ‘code’ breaking put me in mind of the astonishing story of the code breakers at Bletchley Park during the second world war. If you ever have a bit of time on your hands and live near Milton Keynes I strongly recommend a visit – it is an extraordinary story.
There are many many recordings of this beautiful music but is it hard to find better than Lang Lang – enjoy.
The Lang Lang performance reduced me to tears even though at first I was a bit prejudiced against his very free rubato at the start. By the time it returned after the turmoil of the middle section it made perfect emotional sense! It is a shame that an audience feels impelled to clap after the playing ended so tenderly…
I have been searching for a performance with minimal rubato but without success. Everyone seems to want to be very expressive
with the tempo – and who can blame them !
How masterful, to metamorphosisise the mechanical elements to become soooo ethereally pure and ‘spiritually’ sensitive!