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Étude Op. 10, No. 3 (Chopin)
Étude Op. 10 No. 3, in E major, is a study for solo piano composed by Frédéric Chopin in 1832. It was first published in 1833 in France, Germany, and England as the third piece of his Études Op. 10. This is a slow cantabile study for polyphonic and legato playing. Chopin himself believed the melody to be his most beautiful one. It became famous through numerous popular arrangements. Neither "Tristesse'" (sadness) nor "Farewell" are names given by Chopin.
Significance
This étude differs from most of Chopin's in its tempo, its poetic character and the lingering yet powerful recitation of its cantabile melody. It marks a significant departure from the technical virtuosity required in standard études before Chopin's time, though, especially in the third volume of Clementi’s Gradus ad Parnassum (1826), slow études for polyphonic playing, especially slower introductions to études, as well as études with alternating slower and faster sections, can easily be found. According to German scholar and Chopin biographer Frederick Niecks (1845–1925) Chopin said to his German pupil and copyist Adolph Gutmann (1819–1882) that he "had never in his life written another such beautiful melody (‘chant’); and on one occasion when Gutmann was studying it the master lifted his arms with his hands clasped and exclaimed: ‘O, my fatherland!’ ("O, me [sic] patrie!")" Niecks writes that this study "may be reckoned among Chopin’s loveliest compositions" as it "combines classical chasteness of contour with the fragrance of romanticism." American music critic James Huneker (1857–1921) believes it to be "simpler, less morbid, sultry and languorous, therefore saner, than the much bepraised study in C sharp minor." Chopin originally gave his Op.10 No.3 Etude the tempo Vivace, later adding ..ma non troppo. It is also relevant to observe that this etude is in 2/4 time and not 4/4, although it is generally performed as a very slow 4/4 piece that was notated mostly in crotchets and quavers, rather than quavers and semiquavers. The visual impact of the score alone strongly suggests that a languid tempo is incorrect. There is also no doppio movimento following the opening section, which results in an erroneous drastic slowing down for the re-entry of the opening section. These are unwritten by Chopin, according to his autograph manuscript and other original source materials.
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