ALFRED CORTOT’NUN, FREDERIC CHOPIN’İN OP.10 NO:1 VE NO:2 ETÜTLERİNE DAİR ÇALIŞMALARININ ANALİZİ
AN ANALYSIS OF ALFRED CORTOT’S WORK ON FREDERIC CHOPIN’S OP.10, ETUDES NO:1 AND NO:2

Summary/Abstract: Frederic Chopin’s etudes, in terms of musicality and technical range, can be identified as “distinctive” in piano. Chopin introduced some novelty to the “etude” concept by focusing on the appropriate usage of the body and also the musical support, and by doing so he also aimed to overcome the technical difficulties. His etudes are the first ones to be the “concert etudes”. Chopin has composed 24 of them to be able to overcome any possible technical issues, and they have been converted into a method by Alfred Cartot for the very same reason. Cartot introduces various practices for each etude, and at the beginning of each of them he introduces the title “Expected Improvement” which means the level of mastery he expects at the end of the work. Being easy on anatomic structure, relaxing the hands, the arms and the body and being the type of work that enables gaining agility and eliding the tone, Cartot’s exercises are crucial as they focus on the pianist’s main needs and thus enables to maintain Chopin’s tradition with appropriate methods and to reach to a pure and smooth sound. With this method, Cartot rather aims to improve the pianist’s technical mastery and to enable them to reach to their own musical insights that reflect their personality and tastes, not to lead the pianist into a musical route. In this study, Chopin’s op.10, Etudes number one and two are going to be examined with regard to Cartot’s method in terms of how it can contribute to the pianist for “Gaining Effective Practicing”.

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