Applying György Sándor's basic technical patterns to Chopin’s Études Op. 10 and Op. 25: a commentary, annotated score and CD recording

© 2017 Dr Jisook NohThis study applies György Sándor’s basic technical patterns to Chopin’s Études Op. 10 and Op. 25, as a means of reducing physical discomfort and technical challenge. Chopin’s Études are regarded as some of the most significant works of the piano literature, especially due to the high technical skill and artistic virtuosity they require from the performer. Pianists are often faced with technical and physical problems while they are learning these challenging pieces. Taking as a framework Sándor’s book titled On Piano Playing: Motion, Sound and Expression, I propose that his method can be applied to assist in overcoming the technical issues presented by the Études. György Sándor (1912 – 2005) established the fundamentals of a technical approach for playing the piano without physical obstacles, emphasising the appropriate utilisation of arm and wrist muscles. He also generated symbols for these patterns to convey their execution on a score so that they can be incorporated into the learning process. Even though various pianists and pedagogues have published on the technical challenges of the Chopin Études, no specific discussion of the application of Sándor’s technical patterns to Chopin’s Études exists to date. The primary aim of this research is to apply Sándor’s basic technical patterns to each of Chopin’s 24 Études in order to ascertain their effectiveness in diminishing performance-related pain and overcoming technical problems. Through a process of experimentation, my research resulted in two main outcomes: an applicable technical guide to the study of the Études, in the form of an annotated score employing Sándor’s own symbols, and my own performance of the complete Études Opp. 10 and 25, which is recorded on the CD. This study comprises five chapters. The first focuses on the Twenty-four Études, including a literature review and a survey of editions that were considered for the production of my annotated score. The second chapter concentrates on György Sándor and the relevant literature on his method and other pedagogues of his time. The third chapter discusses Sándor’s technical patterns and explains his symbols. The fourth chapter outlines my methodology, explaining how the annotated score was produced. The last chapter presents the commentary and annotated score for each of the études