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Many pieces from the 19th century have metronome marks. How do we read them? Literally? Then the music is mostly much too fast. Some musicologists have discovered that we read these numbers in the wrong way. We must halve them. Then the music gets its right character and we can follow all the indications of the composer, such as: dynamics, articulation, phrasing, fingering, accents, etc. When you play this piece in the right tempo it gives you more satasfaction, and besides that, you don't need to imitate a prodigy. You may play this piece as a child with a normal musical talent. Remember: Burgmüller wrote this study for children and certainly not for professional pianists. Info: www.gerardvanreenen.nl. + Informações

Burgmüller. Etüde # 16. Opus 109. Es-Dur. From one of my favorite composers of all time. Tell me who else could pack that kind of condensed but true sense of drama, emotion, remorse, pain, passion, excitement, grief and anger into a just 1 minute+-piece of music... These composer instructions and annotations were (hopefully;-) followed: Allegro agitato (152/quarter), piano con anima, sforzato, crescendo, forte, espressivo, diminuendo, a tempo, pedal, fortissimo, riterdando, piano, dim. rallent., pedal off... Da capo anyone?. + Informações