I'm glad a lot of people agree that 3rd is their favorite, that coda singlehandedly led me onto eventually learning the whole piece, I just HAD to be able to play the coda, once I did I eventually did the whole piece. Such an amazing coda!
Any tips other than going slowly for as long as needed? That coda gave me all kinds of fits when I tried to accelerate. The initial bars would morph into triplets and I could not get both hands in sync just prior to the descending right hand C # minor run.
@@itzelguerra2655 Ah..I do have some tips! This Coda, especially the right hand, is almost entirely made up of 16th notes, so in those cases it's always helpful to do rhythmic practice, I highly recommend Josh Wright's RU-vid channel in general, he has a lot of videos about rhythmic practice, that helped me tremendously to get the fluidity, especially odd number rhythms like three, five, seven, maybe up to nine even. As for the ascending pattern with both hands, I have always struggled with that as well and it is quite difficult, one trick that always helps me in parallel hand patterns is accented practice, start slowly obviously, but accent every two notes, then three notes, then four notes, etc... try not to hold tension after the accents, and try to play the non accented notes relatively soft, then you can start speeding up with the accents. Hope that helped, it's gonna take a while so give it time, these methods are very helpful! Try and record yourself everyday for about a week, you'll see the progress you're making. I'll be happy to answer any follow up questions :)
There is something sinister about #3 that's always overwhelming....there is an audio clip on youtube about rachmaninoff playing #3 and its unbelievable
@@ayushrudra8600 I was 20 when I learned it, I'm 24 now. I think one's skill level and experience matter much more than age, so assess yourself well to see if it's approachable.
No.1 Sorrow and grief escalated to rage and madness No.2 Heavenly, Delightful, cheerful. feels like finally came home after long journey No.3 Warm and contented turns to desolation and sufferance. most technical No.4 Sparkling, nostalgic and satisfied I would go with 3, 2, 4, then 1
The first scherzo's coda strikes as the best one for me and here's why: The build-up from 0:25 to 0:38 is very intense and I love it. And the simply overwhelming chord booming at 0:38 are just insane, and I love the dissonance that the F# note gives with the minor 9th between the hands; I feel like I'm enjoying the music while etting punched on. Also at the con brio section (0:43), the melody and the bass shifts to a 2/4 rhythm until transforming back into 3/4 a few seconds later and it somehow tricks me into thinking that the piece just got even faster, while in reality, it didn't. If only Chopin made it a little bit longer.
Definitely the easiest one to play, but I find it kind of meandering. The other scherzi are so cool and have these fascinating complex endings that tie into the other material in the piece, this coda is basically ii-V-I the whole way through, until the big G7 over F# chord you're talking about then it's just I the whole way down with some random chords at the end. Slightly too much filigree for me, though I admit the figuration he uses over the ii-V-i progression is pretty bad ass and fun to play.
@@malmosma2301 It's harmonically infantile, and the figurations are quite comfortable, the final lick with the double notes I found surprisingly comfortable, though I always played it around 108 to the dotted half, could never quite control it at 120. Edit: to elaborate. The final lick is just a simple rocking back and forth motion using forearm rotation, it requires very little finger speed. The first section is a bit harder, you need to shift quickly from each passing note to get your hand ready to stretch an octave. I find the large arpeggios in the second coda to be much more daunting than any of this stuff, especially considering most people play that piece a bit on the slow side because of these arpeggios.
I’ve listened to Chopin’s scherzos thousands of times, even at my workplace. And I realized that op.54 is so underrated. If you look into those pieces deeply, you will realize that how genius Chopin was, especially when playing no.4. It’s impossible to understand them just by listening to them. I love all of them, but No.4 is exceptionally brilliant. It is a true masterpiece just like polonaise op.61, ballade op.52 and sonata op.58
As someone who has never heard the Scherzos, No.2. The one with the most interesting harmony and definitely the most effective structure, for me. (I suspect other performers interpret 2:07 much more convincingly, though. It says Piu mosso and he lost momentum.)
For me, from best to least best (I can't stand to call a Chopin coda "worst), it's 3, 4, 1, then 2. *DISCLAIMER: OPINIONS AHEAD...* *3rd coda:* the perfect length, structure, and character to finish off it's Scherzo, it just sounds so damn satisfying. I also love how cleverly it ties in important ideas from the rest of the piece. For example, the importance of the VI chord and the 6th/submediant scale degree (in C-Sharp minor, the note A). I think that when played effectively, this coda is unmatched among the others in its ability to bring an audience to a roaring applause. *4th coda:* has many of the same traits as the 3rd (these applying to its own context, of course) and is certainly very satisfying. I love the huge buildup based on the very first theme of the piece and the use of chromaticism before that. Sometimes though, I'm left wishing for a slightly more prolonged climactic moment, more catharsis, more ecstasy. For me, there is so much pent up energy that builds throughout this piece, and only the very best performances seem to effectively manage/release it... *1st coda:* needs to be about twice as long, but otherwise, simply fantastic. I love how much effect Chopin gets out of some very simple harmonic devices. For example, the at the top of the first run, the change from ii^4/3 to subdominant V^4/3 of V (C#7 over G#) in pounding FF, followed by that shrieking downward arpeggio that plunges into the bass. Also, the FFF repetitions of the German Aug. 6th chord (*over F#!*) right before the final "con brio" is absolutely terrifying, and I love it. Gives me early premonitions of Ravel's Scarbo. *2nd coda:* some of Chopin's best coda material here, so please don't take my complains to mean I don't like it. I'll skip the fawning over the absolutely delicious moments in this coda to point out the following (remember, just my opinions): I wish this coda didn't rely on another repetition of the main Db Major theme to build the tension. Personally, after a final statement of the long Db theme, I would've liked a brief transition section, calling on themes from the middle portion of the scherzo, that would more quickly built tension into the final coda. Also, like that of the second Scherzo, this coda feels just a bit short sometimes... I think it might've benefitted from a few additional phrases here and there... I will say this though: the "stretto e cresc." to the end portion is ABSOLUTE PERFECTION.
First off, I want to say thank you for taking your time to write such a thorough analysis of these codas! I absolutely love your take on them. And can totally understand why you order them the way you do!
@Gary Allen Thank you for your kind response! And your gripe with the 2nd is totally understandable. I want to perform all 4 in concert someday (I have 1 and 3 down already), but if I do that I i'll definitely omit the repeat in 1 and I'll have to find ways to make the repeated sections interesting in 2. One of the reasons that the 3rd is by far and away my favorite is that Chopin plays with the tonal center all throughout. The way that different sections come back in different keys makes it feel to me like an imitation of sonata-rondo form, or something like that.
@@dommyajd9033 That's totally understandable, he certainly is unorthodox :) I think I personally like Argerich or Horowitz the most for 3rd Scherzo... though my tastes can vary from day to day...
It will be fun to rank these with the Ballade codas. For me it's B4, S3, B2, S2, B1, S1, S4, B3. They are all excellent of course, but I really love the top 3. Ballde 4 is contrapuntal perfection, Scherzo 3 is probably the finest "virtuosoic" passage ever written, and Ballade 2 just has so much fire and intensity.
they are all legendaries which we couldn't rank but this was just opinions so I appreciate that u put the B4 onto the first but idk what to put in the last, the last but probably not the "worst", and I think it's not B3 😭
can't pick between 1 and 3, I've played both and I definitely like to play 1 more, so I'll go with 1. 2 is undeniably the most beautiful out of the set though
I think no:4 is special because you can feel the ending is on the way despite it is calm and soft with the double trills. Inevitably though, the final bars erupts in vivid and satisfying conclusion.
All are so good ! To me third is the best ! First is awesome but a bit short, tho the whole piece main theme seems to be a coda ahah Fourth is magnificent but is less coda-esque (intensity ? virtuosity ? idk) than the others Second always made me think more of a ballade than a scherzo (actually a bit like before 1st ballad coda) but i love it :)
I've performed all except #2, just worked on 2, have taught it... These are all difficult pieces, and may be hard to be rationale here, getting beat up by these bad boys.... Anyway, I would say #2 is most interesting musically, harmonically, with juxtaposing different configuration, registers, a slam-dunk finish. No 1, if brilliant, is musically weak with the repeating B minor hemiola bass followed by the long very basic chromatic scale, not so interesting. No. 3 - lead-up to coda is heavenly, but the coda proper is very diatonic ii-V-i harmony, The LH octave jumps, repeated a step down also while brilliant is musically bland.... the final octave that move chromatically are effective, but musically a bit cliche. I find this No. 3 a hard piece to bring off because in general it is so stark. Others feel this is the best Scherzo musically because of its tight construction... where as Bm/No. 1 is so repetitive, and 2 and 4 are too loose structurally. No. 4 has a great coda but this is always a perplexing work... So, I'll go with 2, 4, 3, 1 from best to worst musically. I am not here to beat up Chopin, a la Schnabel calling Chopin the greatest composer for the right hand. I usually do not post, but appreciate the question to bring up some banter. Have at it :)
I saw Perahia in a recital about 10yrs ago playing #3 and you could hear just a couple wrong notes but the ending was perfect and many pianists said its the most difficult ending of the 4 scherzos.....those octaves leaps in the left hand are brutal....Chopin was possessed when he penned that ending for #3....😆
none of the codas of the scherzos are exceptionally complex but having learnt all of them personally I also find the third scherzo's coda a bit more challenging of the rests. getting all the note correct and the octaves isn't that easy. Putting them in order then : 3rd scherzo, 4th scherzo, 2nd scherzo , 1st scherzo. surprisingly the first scherzo's finale is incredibly comfortable for the hand and much easier than the others'.
Chopin is by far my favorite composer, always will be. It’s so amazing the pure genius that spawns from his music. As a pianist, I’m so grateful for all the music he has brought us❤️
Gracias por postearlas Las codas chopinianas son, en general, orgiásticas Los scherzos no son la excepción Cuatro monstruos sagrados para disfrutar Me quedo con las cuatro Un saludo desde Buenos Aires
No. 3. Although I love Nocturne in F Sharp Major, Etude Op. 10 No. 3 (Tristesse), and Ballades No. 3 and 4, Scherzo No. 3 is my favourite Chopin piece. The beauty and intensity of every Chopin style is just woven so well into a crazy journey. Although the 2nd theme’s downward passages are beautiful, the contrast that coda gives sounds insane and frantic, just how it should be. There are so many chromatic passages that still manage to keep the harmony consistent. The chords at the end close off the piece on an intense note. It is perfect.
I have to say the 3rd codas interpretation is amazing, So it would win because of the amazing interpretation Than probably 1 because of the buildup Then the 2nd because it sounds more complete than the 4th The 4th doesn't sound complete I don`t really like it! This is my opinion of course
The third is the most musically complex and interesting. Somehow, I find the fourth one the most beautiful and musical, especially when listened to after the whole piece. I often rewind the last 2 minutes again to listen to that last part.
I specifically learned number 1 because the exquisite angst in that repeated FFF chord. So though all three others are masterpeoces I'll go with number 1 because of its devastating musical knockout punch of rythm and anguish.
He really is great! Just a spectacular energy to his playing. Went totally off the radar after the 1985 chopin competition, though, wish he did more recordings.
@@Dizzyfingers2 I get that Horowitz has god tier celebrity but there's somebody on every video who will "Horowitz better" against anybody, and it's not very honest if we're talking about music alone. I was specifically talking about the codas anyway because that's the subject of this video, and Horowitz definitely sounds like he's fed up by the end of them all.
My order (greatER to great) is 4, 3, 1, and 2. my opinions are really basic btw 4: this was originally tied with 3, but in the end scherzo 4s coda just won over my heart. perfectly matches the given definition of scherzo, a vigorous, light, or playful composition. i do have some feedback for this coda though. i feel like the amount of energy that was built up during the whole piece couldve been used more in the coda. (as in making the coda a little longer) besides this, everything is literally perfect to my ears. at 4:36, i love how he brings back the first theme but extended 3: love this just as much as scherzo 4, both are satisfying. i love the jumpiness in the left hand octaves, and how it immediately switches moods at the end, and for the rest i just cant explain it. it's perfect 1: to me this whole piece is more emotional than playful like the rest, but i find this one interesting because it is the opposite of the scherzo definition. a scherzo is supposed to be playful, but this one is full of envy and rage. everything is right in this coda to me. the con brio is spine chilling. i really wish that the con brio part couldve been longer, because it just sounds so badass. 2: this coda is also great but ive heard it so many times in my life that ive just fallen out of touch.
For #3, those octaves leaps in the left hand prove to be a difficult task for many amateur pianists, but when played correctly, it's the highlight of the ending
Hmm, I dont think I can rate them, because they all sound good in their own way👍 1 and 3 have that kind of "demonic scherzo" spirit, very interesting how they sound serious but also light-hearted. 1st one sounds more demonic and less light-hearted though, because it has more use of chord smashing( 0:32 ) ( 0:39 ) In 3rd one, i think its cool that Chopin expresses, that those 3:25 , 4:04 arent just Octaves, but very demonic sounding Octaves😄 Scherzo 2 is like a grand finale, it sounds big and powerful( 2:09 ) but also light-hearted and a bit joky, because it is Interrupted by this theme 2:12 I havent rlly digged into the 4th yet
Rankings my opinion: 1st - no 4 2nd - no 1 3rd - no 2 4th - no 3 P.S. They are all great codas and I love them all btw this video is how I found this channel
Again another serie where Chopin goes hard on the coda : The first one is very rageful and agitated. The second is very organic as it summarizes the tonalities and motives in a very condensed and énergie way. Very epic The third one is very contrasted and raises the technical difficulties of the piece in a significant way. It has a « Torrent etude » conclusion vibe. The fourth one has a more sparking and delightful tone. It’s not often talked about but I like how he keeps a lighthearted tone even while amplifying the conclusion.
The fourth, hands down; the other ones are amazing too, but nothing beats the coda of the fourth scherzo imo (the entire coda isn't featured in this video).
I agree with all S3 proponents, but rate the original melody there above the ending octave virtuosity. A teacher of mine described that melody as a “glorious sunrise.” Unfortunately this pianist woefully underplayed the crescendo. The inglorious sunrise is behind clouds!
And i have original comosition scherzo furioso op.20 in B minor and the last is B major First:Presto Second Allegro moderato Third Presto fourth Allegro moderato fifth piu adantino sixth Allegro moderato and last Presto.
Pqp, velho. Minha mãe acabou de entrar no meu quato para pegar uma coberta. Ela socou a porta do guarda roupa bem do meu lado, deixou a porta aberta e apagou a luz. Pqp ,meu... Pqp.
