By Frédéric Chopin, ed. Alfred Cortot
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Extra resources for 12 Études op. 25
The adult duo will benefit from playing so direct and unassuming a work; the younger ensemble will find its easy humor and good nature refreshing. To be more specific, the players will be so in sympathy with its qualities that they may not even notice them; enjoyment need not always be explained. < previous page page_47 next page > < previous page page_48 next page > Page 48 5 Italian ViolinVirtuoso/Composers in the Early Eighteenth Century: Corelli, Vivaldi, Geminiani, Others In the late seventeenth and early eighteenth centuries, Rome and Venice continued long-established traditions of support for cultural and artistic endeavors.
3 However, the reader of the English translation (cited here) of the German Foreword should take heed on one point. . " That is, it is the basic beat, not the note values, that remains unchanged. The editor is saying that the terms adagio and allegro may refer to the character and mood of the interpreta < previous page page_22 next page > < previous page page_23 next page > Page 23 tion, rather than to any change in tempo. Or, if we may twist the meaning a bit, the player must be guided by the temper, rather than the tempo of the successive passages.
1, that precedes it in the DTÖ edition, shows Schmelzer's use of scordatura, though with much less strenuousness than in the case of Schmelzer's pupil, Biber. In any event, the tenth Walther scherzo seems, probably because of the loose-knit scheme of coherence supplied by the bird-call motive, less tedious than its fellows. A more impressive Walther effort is available in a modern edition of the Sonata mit Suite, no. 2, for violin and basso continuo, from the opus Hortulus Chelicus (1688). The first movement is a GravePoco AllegroAdagioPrestoAdagioPrestoAdagio (the frame of the first movement of Corelli's sonata, op.
12 Études op. 25 by Frédéric Chopin, ed. Alfred Cortot