To properly execute the tremolo, it should be played with the same rapidity as the roll on the drum.
Practise slowly at first; then gradually accelerate the tempo until the movement indicated (M. M. quarter =72) is reached. Finally, by oscillations of the wrists, the rapidity is still further augmented up to the tempo of the drum-roll. This etude is long and difficult; but the excellent result will fully repay the pianist for the trouble and fatigue encountered. Steibelt made his hearers shiver by his execution of the tremolo.
Edition note: Split-duration LH bass groups (first occurs bar2 beats3–4): Shared E3 head has opposing32nd/16th stems. Single attack retained; upper tremolo E3 released as32nd; lower A2/C3 retained as16ths. Exact E3 release unspecified by source; no duplicate/invented sustained E3.
Edition note: The renderer may omit dashed continuation lines after cresc. and dim.; the words remain visible. Original and MusicXML retain the complete spans.
Concluding Remarks
Now that the student has practised this entire volume, he is acquainted with the chief mechanical difficulties; but, if he would enjoy the fruit of his toil, and become a real virtuoso, he ought to play this entire book through every day for a certain time; only in this way can he familiarize himself with these great difficulties. An hour is required to play the book through.
The greatest artists find it necessary to repeat daily exercises for several hours, merely to “keep up their playing.” We should not, therefore, be accused of exaggerating the matter when we require of a student aspiring to true virtuosity, that he should play these exercises through every day.
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