its delightful how u teach with such passion and precision, I could consume these videos all day long as I broaden my knowledge about Chopin's music that is so dear to all of us.
18:09 this one line of music consistently overwhelms me with emotion more than any other piece of music I’ve found in my 37 years. The first time I heard it my breath caught in my throat. It had to be this line that had Chopin crying out for a happier time in a happier place. It’s amazing
Of course, any person who appreciates Chopin will know and love Op. 10 no. 3. I watched this video three times Greg and, each time, end up with a smile on my face as well as in my heart. Your lectures add a new dimension for the music lover to appreciate the complexity and beauty of Chopin's genius. With gratitude..
This video is pure gold. I love how you contextualize the composition and explain it in such a relatable way. Your videos are so expressive, they bring joy to my life!
Thank you for doing this. I now understand Chopin's Tempo and the reasons for it. Great analysis. It will make a big difference in my interpretation of this etude. Very helpful to understand the technique of control of the weaker fingers and the relationship to the preceding etude.
Thank you very much for the thorough analysis and the beautiful performance of this piece of music! My son played it at 15 as a scholarship student; though music was not his calling!! His mother is eager to learn it after tackling op 10 #9 on her own!
SO WONDERFUL AS ALWAYS, MAESTRO!!!!! Thank you for one of my favourite Chopin's Etudes in an excellent rendition and for your analysis/tutorial, again my best regards, have a Happy New Year 2022. Joanna
Thank you very much! The movie "A song to remember " about the life of Chopin contains the theme ( singing Part A). From Tino Rossi in France in the 50s to Celine Dion, Canada sang this theme. All over the world! This music survived the test of time. We can only thank the Polish genius mysterious sensitive composer he was!
So nice Maestro. I didn’t know about the Devil’s chord or this tritone yet of course I’ve heard it all my life. He makes the climax sound like shattered glass with those chords in comparison with the soft, tender part A. Imagine being condemned for putting two tones together. Unbelievable! ❤
Dzienki Greg! I've listened to every version of this etude on youtube and this and Horowitz's are the only ones I can tolerate without reaching for pause & quit
Great one! With the etudes I'm very much loving the fact that you point out technical aspects in addition to musicality. This enlights the piece in all possible ways. The Triton part was also funny, I was picturing a trident as you mentioned devil 😅
This op. 10 no. 3 has to be the saddest music I ever heard That in August 2016 I selected it to my mother’s passing to haven It was just a CD played in the funeral home and they must have played it 8 times in a row I cried so much and still do but then I decided to play piano again I was 57 years old the last time I played I was 11. I did not pursue my musical incline towards the piano, my teacher just did not show any passion towards the instrument or towards me or both. Although now I really enjoy playing there is not a day in my life that goes by without me practicing my piano and I fear the rest of my life may not be enough for me to play the way I really dream of or all the beautiful music that touches my soul. Thank you for your magical video
Thank you for this heartbreaking comment.... Music has a huge power!! It can comfort us! And I'm so happy you play and enjoy it!!! Thank you for watching my analysis. Love from Poland
Trank you very much for bringing this Etude Op. 10/3 closer to my heart, I really appreciate it. It always was secondary in my view ( may be due to the ever so slow interpretations of the theme in part A ?!), overshadowed by 10/4,10/12, 10/1, Op.25/11, the beautiful great fantastic ones. But after watching your video , which borders on great pianists master classes in my opinion, I am starting to develop a different attitude towards this obviously fantastic etude and might just take it out of the shelf and start practicing it one of these fine days. After having played numerous studies during my conservatory years, I see myself approaching this one with a different attitude thanks to you and your master class like videos ( I have seen plenty of your Chopin Videoas before, and they all are masterful and inspiring and some of your ideas I have passed along to my piano students as well as the links to your videos.) Greg…thank you, again!
Wow, do good to read those words. Thank you! I appreciate your opinion on the tempo and I'm very happy to hear that you are following my videos! All the best and good luck with that Etude! It's s masterpiece and the audience always love it too!
Watched the whole video - I am learning this piece right now for my RCM ARCT exam and your comments about the dynamics and stylistic choices made by Chopin are very insightful. I will consider speeding up section A in my playing a little even if many of the recordings I've heard are slower. Also the louder weak finger melodies vs the softer strong finger accompaniment in all parts of the piece including the bridge. Thanks for this video!!
Great! Here you can watch my tutorial which might be helpful for you: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-wjegn_DmbiM.htmlsi=ydRxLhR0nkcDCs9W
Thank you very much for the teaching and beautiful playing. I don't play but I listen to most of Chopin's music often. Although a romantic his copy of JS Bach's WTC was always close to him.
I can't play it perfectly but I play it nearly everyday. I seem not to be able to do without it. So I was happy to learn a few months ago that Chopin said he never discovered such a beautiful melody since this one.
Great analysis, as always, master. Regarding the tempo: we have this same issue in Etude Op. 10 no. 6, Op. 25 no. 7 and Nocturne Op. 27 no. 2. They are generally played much slower than that established by Chopin himself. What do you think about that?
Thank you dear Emmanuel. Yes indeed! I'll be talking about that in my lecture about those etudes, op 10 no.6 I'm playing in the almost original Chopin's tempo and I love it that way! You'll see in 2 days 😊
Wow!! I think it sounds so much better and makes more since as well in Chopin's tempo! Now it sound more boring and doesn't make as much sense to me when i hear how most pianist play it, it gets on my nerves now😫!!! Now im gonna have to put the recordings at 1.25× speed😂. Great analysis and insight as always! I've been learning so much from your videos nad have been binge watching them! Thank you from the bottom of my heart!👍❤😌
Yeeey!!? That's exactly what I have all the time listening to all those slow versions! Lang Lang is the worst... Thank you so much for your words! I need them!
Same with op.10 no.6, wich before i never liked, but now is one of my favorite etudes now because if your video. I never realized them tempo even though its in plain sight, it makes more sense i Chopin's tempo, he put it there for a reason! Thank you for all you hard work and dedication to these videos, there all i've been watching lately!
You speak verte eell English I understand You almost every thing My mother language is Spanish, nevera less I understand very well,congratutions again and ever.
Interestingly, I have been playing this piece at this tempo all the while, and many have always told me , that it sounded more "romantic" than the slow-slow tempo that great pianists play. Mainly because the slow tempo is dragging, and takes too long to "get-to-the-point". Thanks to your video, I'm finally able to confidently tell myself, I didn't interpret this piece wrongly.
That ultra slow tempo made me grimace. Glad you couldn't stand it too!! I know the culprit, he also played Debussy's Rêverie at an excrutiatingly slow tempo totally ignoring the direction "sans lenteur". He might be famous, but his performances are not always my cup of tea... I am just starting to learn this lovely piece! (so starting in the middle where it is hard as usual!!). I look forward to checking out your playing guide! BTW I loved your one handed playing at 13:00. Really lovely!
Burned for using tritons? Who was the devil really in those days? The authority or the composer who used tritons? I absolutely loved the anecdote, and am relieved not to be born in medieval or Renaissance days, and happy to live in the same time as you and listen to your Chopin lecture! Thank you for another great lesson!
I didn't expect this one! So interesting. Are there any famous recordings that are completely faithful to the original score? (Apart from yours of course)
Great analysis. Thank you. Don’t you think Chopin pays tribute to Beethoven in this Etude? Beethoven’s Pathétique sonata, 2nd movement: Chopin uses the same idea for part A of the Tristesse, 2 voices played by the right hand with 1 voice as the melody the the other, under it - softly - is the accompaniment. Thanks!
Совсем по другому услышал .. Спасибо ... Я не понимаю на каком языке вы говорите ) но то что объясняли я понял Послушайте пожалуйста как ланг ланг играет этот этюд. Неужели он играет не то чтоукзанно в нотах ?)
Thank you for your videos Greg! They're insightful and very helpful for me. Also, how do you pronounce Niemczuck? I've wondered for a while now and didn't want to mispronounce it when I recommend your videos to other pianists at my university.
The topic of singing comparison to legato and its implication on the piece's tempo is excellent. It is a reasonable interpretation. I think the reason why people abandon that concept in favor of slow and melancholic tempo is because of the legend of Chopin and the Romanticism being all about sadness, longing, broken heart etc. which is a bit extreme, as IF people did not have joy despite all the political and social troubles of those times.
@@gregniemczuk you know, that legend was already being taught when I was being taught to play back in 1980 - 1985. I think it goes back to late 1960s school of Chopin interpretation. You likely know it in more detail as you study history of classical music, I just base on some select listening.
@@gregniemczuk also, legato and singing was very much the Russian / Polish / French school of piano learning. Don’t know how they teach it nowadays but I do know kids in the West don’t sing when they play and we did it back then.
Maybe in RU-vid's video _"Annick Goettler: Chopin's Etude "La Tristesse" is a JOYFULL piece. Just read his metronome mark"_ and related there is the answer.
That video proposes the theory that the metronome indication eighth-note = 100 actually means play 50 eighth-notes a minute. That is even slower than most pianists play this Etude! Lang Lang however does take that tempo in his Berlin encore (and it is a horribly self-indulgent performance).
Greg the one argument that could be made for the slower tempo is if one could articulate a plausible theory that Chopin would have chosen a slower tempo if he had heard the modern piano or even the piano that Liszt and Brahams had available in their old age. I do not think it is enough to say, “this melody is so beautiful with the legato of the modern piano that he would have wanted it to be glorified through a slower tempo.”
@@gregniemczuk So you believe that quality spans Chopin’s work and is not simply an interpretive standard for the noctournes. It is an interesting question of why if Chopin beloved this to be the most beautiful melody he ever wrote, he decided that it should be embedded in an etude as opposed to one of the concertos he had under development.
@@sunareekaewnat8967 it's indeed very interesting. But mind you, Chopin said those words before he wrote most of his other masterpieces. Until this Etude he didn't write many pieces with very beautiful melodies
@@gregniemczuk There is a really harsh quote of Chopin about Czerny that there was more soul in the composer than in all his compositions, so I do think there was a strong desire to prove that etudes could be compositions of musical beauty. It is certainly a break with Mozart where his most beautiful melodies were embedded within the concertos and are played by the orchestra and the piano.
@@gregniemczuk I explain intervals to kids as the number of half steps between notes. If You teach from the middle Perfect 4th- Tritone-Perfect 5th, it is easy to memorize the pattern from 1 half step to 11 half steps. My phrase for teaching the circle of fifths is “frosted cookies good, daddy ate every bite.”
The instrument in Chopin's time didn't have the fullness nor the sustain of a modern instrument. I think the instinctive use of a slower tempo is due to an increase in the instrument's ability to sing slowly.
Most likely you're right. The fundamental question is though, would Chopin write this slower if he had modern pianos? That we'll never known. But it's a solid excuse for playing it slower. Thank you for watching!!
Great video I have a question. Why did you choose to play the piece with a slow tempo/the popular tempo for your performance in this video: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-jpLRm1F5iUk.html Do you not prefer the "correct" tempo? Greetings
Thank you. But maybe too many gestures and words? I am also not sold out to 100 bpm for the A part with all due respect to Chopin. Try to hear Rubinstein with a much faster middle part but medium A part. Interpreters are there to interpret when a piece becomes better that way. The tritone -- no, that is a mythos narrated everywhere but not really true. There are some historical videos about it. No insult intended, but my cent...)
Thank you Roland! Thanks for watching and for expressing your opinion which I respect. I'm not going to argue, especially that Rubinstein is my big authority. But in these videos I'm trying to show what's originally written by Chopin, especially to those of you who are not musicians and don't know it. About the triton - I read many opinions and we don't have 100% proof that what I read for you is not right. Some sources say it's a myth but some say that in the church music of middle ages it was forbidden. Thanks for watching!
@@gregniemczuk Thank you. I play this etude, and I believe, on a good level. I agree that there is no end to arguments. Chopin also changed his opinions fairly often or improvised different versions of his pieces. Good taste often expresses in being simple and sophisticated at the same time.
The tempo used by Horovitz here is the most appropriate to my personal taste: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-IahA8_jZ8cE.html . Then I saw a young female virtuoso Igoshina who played way slower and it put me to sleep. It is not a nocturn ...
I enjoy your virtuosity, however i disagree with the tempo marking you analysed. The tempo markings at the tempo is not only too fast to hear details, but it would have sounded even worse on a piano of Chopin's time. I believe the tempo marking is literally half of that. All of Chopin's Etudes make way more sense reading the metronome as a pendulum (every full rotation) than every individual tick. The reason I believe this, is that Chopin's Tempo markings at the way we read them today are at the very edge of what is phsyically possible, with pianists spending their entire youth and life mastering these. The fact that these were written for his students, and that Lizst sight read these pieces at tempo on first sight leaves me to believe the tempos are all in half. Perhaps I am wrong, but either Chopin liked his melodies on supersonic speed, in addition to himself and his students were lightyears better than everyone alive today, or the tempo is half. Chopin writing the incorrect tempo is not an option, that is just disrespectful. Thank you for these videos, and despite whatever the original tempo may be, I appreciate improving my technique and musicallity and your videos are helping greatly, thank you.
Michael, quote: «I enjoy your virtuosity.» Yes, but they did so in Chopin’s day too, they reveled in the virtuoso playing of master pianists! «Because Liszt site readed the etudes, he must have played them at half pace.» But then the etudes aren’t virtuoso any more. Then the speed becomes so low that many could play the etudes. I’m guessing you’re one of Wim Winters’ disciples. But because WW sometimes censors and manipulates his listeners/viewers, you should show interest in other sources as well.
It is curious how they sacralized incorrect performances despite the composers' instructions. Maybe they want to know more than the composer, perhaps an unpleasant tendency to dogmatize music, when what needs dogma is religion and not art.
You say you want to respect all Chopin wrote and are criticizing those who play slower when you yourself recorded that piece slower than Chopin's MM. I see a contradiction here.
Wonderful point!!! I knew somebody will point it! You are absolutely right! The point of these videos is to show everyone, especially those who don't know what Chopin wrote in the score, what is the original. I admit, that in Norway, when I performed it in public at the concert I took slower tempo because of the atmosphere of the moment and the hall. It was not correct from the Chopin's point of view. And generally I prefer faster tempo. But everyone sins sometimes..... Once again: good point ☝️👏👏👏👏
This was a wonderful lesson and demonstration except that you’re beginning to look like Lang Lang. all the leaning backwards, throwing your head back, hunching over the keys with your face practically touching the keys is very distracting. It seems that only the younger pianists play like that. I find it very distracting and unnecessary. I say let the fingers do the emoting and stop the look of suffering. You are talented enough, just play and let your viewers/listeners feel the music themselves.
Thank you so much. I'll work on it. Actually I'm working on it and it's getting better and better. This video is almost one year old. I'm working on staying calm, but without loosing the emotion and the feelings... That's not that easy as trust me, I'm not making all those movements artificially, they express my feelings towards the music. And here is the problem. Thanks for the comment! I agree with you as I also don't like such musicians
