Étude Op. 10, No. 3 (Chopin)

Étude Op.10 No.3 in E major is a solo piano work composed by Frédéric Chopin. This is a slow cantabile study, in which the right hand must maintain a singing tone in the melody whilst contributing to the accompaniment.

Significance This étude differs from most of Chopin's in its tempo. It marks a significant departure from the technical virtuosity required in études before Chopin's time. It concentrates on melodious phrasing and legato ambience of performance more than technical skill. It has been classified as a Tone Poem for piano by some critics, and is highly regarded as a quality manifestation of Chopin's love for Romantic Opera and Poland, where he was born. During a lesson with his pupil Adolf Gutmann, the latter began weeping and cried, "Oh, my homeland!".^[1] Chopin was said to have also noted this piece as the most intimate piece he has ever composed, stating that "In all my life I have never again been able to find such a beautiful melody."^[2] The Etude has also been known as "Tristesse", meaning "Sorrow" in French.

Structure

This étude is very straightforward, with one theme, a variation, and a final reiteration of the theme. The first theme consists of the right hand's playing the slow melody along with Alberti bass figures. The left hand makes graceful leaps and sets the chordal foundation, leaving no ambiguity in the theme. A study on 115 commercially available recordings revealed that there is no 'correct' method of execution for this section in particular, as all recordings had some significant difference in tempo, acceleration, and timing ^[3]. Chopin disliked excessive sentiments expressed during performance, as it tore the musical structure he initially intended. Chopin also eschewed a beleaguering tempo with distinct pulse since it destroyed the significance of the 2/4 time signature.^[4]

The variation in the middle is where the étude becomes technically difficult to play. Although it stays chromatically centered around E Major, the passage, a long sequence of diminished seventh and tritone intervals, is littered with accidentals and irregular rhythms that make it difficult. The torrential variation eventually coalesces into the gentle rhythm of the first theme, and the Coda begins with a final restatement of the first theme.