to a much greater degree than the then usual method, the possibility of the most beautiful
legato in the fastest tempo with an altogether calm hand.
Chopin’s intention was to produce a pure singing tone, a fine legato and carefully
moulded phrasing. In order to keep the hand quiet and ‘flow over the difficulty’ he
would slide one finger over several adjacent keys with the thumb or the fifth finger, or
pass his fourth finger over the fifth finger. He would sometimes play a sequence of
legato notes with the thumb. Chopin often used the same finger to play adjoining black
and white notes without any noticeable break in the continuity of the line. He also
changed fingers upon a key as often as an organist. For repeated notes in a moderate
tempo Chopin avoided the alternation of fingers and preferred the repeated note to be
played with the fingertip very carefully and without changing fingers.
Octaves are difficult to play because the thumb is the strongest digit and the fifth finger is
the weakest. Double octaves, that is, octaves in both hands at the same time, are more
difficult still, especially in fast passages, whether loud or soft. A pianist with a wider
stretch and more suppleness is able to play octaves with the thumb and the fourth finger
and Liszt recommended this. In melodic octaves the fifth can alternate with the fourth
and even the third. Chopin wrote an étude for double octaves, opus 25 no. 10 in B minor,
but he does not usually require double octaves in his piano music. Liszt wrote many
double octaves in his piano concertos and in his Sonata in B minor and other piano works.
FLATS OR SHARPS
Most pianists tend to find pieces with flats in the key signature somewhat easier to read
than pieces with sharps in the key signature. A possible explanation for this is that since
the repertoire of most pianists is Chopin based, and since Chopin used flat key signatures
more often than sharp key signatures, most pianists have had more practice at reading
flats than sharps. They are therefore better at it and find it easier.
César Franck favoured keys with sharp signatures. A good test of ability to read sharps is
contained in the Finale to Franck’s ‘Grande Pièce Symphonique’ for organ, in which
sharps and double sharps abound. Franck’s notation of his compositions was sometimes
pedantic belying the emotional content.
FORTEPIANO
The term ‘fortepiano’ refers to the early version of the piano, from its invention by the
Italian instrument maker Bartolomeo Cristofori around 1700, up to the early nineteenth
century.
The fortepiano had leather-covered hammers and thin harpsichord-like strings. It had a
much lighter case construction than the modern piano and had no metal frame or bracing.
The action and hammers were lighter, which gave rise to a lighter and more responsive
touch.