Scherzo No. 4 in E Major, Op. 54

Scherzo No. 4 in E major, Op. 54, CT. 200
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Chopin refused to conform to a standard method of playing and believed that there was no set technique for playing well. His style was based extensively on his use of very independent finger technique.

Yundi Li plays Chopin Scherzo No.4 Op.54 in E Major

He further stated: " One needs only to study a certain position of the hand in relation to the keys to obtain with ease the most beautiful quality of sound, to know how to play short notes and long notes, and [to attain] unlimited dexterity. The consequences of this approach to technique in Chopin's music include the frequent use of the entire range of the keyboard, passages in double octaves and other chord groupings, swiftly repeated notes, the use of grace notes, and the use of contrasting rhythms four against three, for example between the hands.

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But the composer of the Scherzos treated them in a clearly different way to Mendelssohn or Berlioz. In this genre, too, there is not a hint of programme or anecdote.

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What is present, meanwhile, is a concentration of the general expressive categories characteristic of the scherzo as a genre. In his first three scherzos, it is expression close to the demonic that dominates: distinct in the extreme, stark and even shocking, they surprise one with the play of extreme contrasts.

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Frédéric Chopin composed his Scherzo No. 4 in E major, Op. 54, the fourth and the last of his scherzos in The scherzo was published in Unlike the. Title pages can be found in Ballade No.1, Op (Chopin, Frederic) . 4 in E major, op. 54; Scherzo nr. 4 (Chopin); Scherzo n. 4 op. 54; Scherzo núm. 4.

The Scherzo in E major is different. Close to the fairytale sphere, though devoid of elves and goblins, it is brighter than the others, written with a finer, lighter pen, though it too occasionally reminds us of the existence of shadows and frights bars — Two categories of expression form this pianistic poem, which delights us with the immaculate beauty of its sound: the expression of play and the expression of love.

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The framework of the Scherzo is filled with the mood of play, of scherzotic exuberance, although balancing on the edge of gravity and jest — an exuberance in constant pursuit of something elusive, something that appears for a moment then vanishes, before reappearing a moment later in another tonal space. The central section of the E major Scherzo lento , then sostenuto , in place of the former trio, is filled with thoughtful music, gazing at distant horizons, sounding like the expression of pure yet ardent love.

Its beauty burgeons even more at the point where the thread of the lonely one-part melody passes into a duet imbued with emotion, sounding with a succession of concordant thirds and sixths bars — It has a place between thought and what is seen; it is a dim mediator between spirit and matter, allied to and differing from both; it is spirit wanting the measure of time and matter which can dispense with space.

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