This was one of the great performances at the Chopin Competition. After the Rhondo, the audience was abuzz with expressions of delight. So much spirit, so much feeling, and so much drive. Fantastic!
The genus of Chopin's genius is in this piece. It's not as well known as his other singular opuses, but if you want an insight into what he was capable of, listen to this one.
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I used to think that this piece was boring and certainly not totally representative of the later Chopin... man was I wrong, this intepretation is awesome.
Chopin scrisse da qualche parte che quando compose la famosa polacca eroica op. 53 in certi passaggi era ispirato dalla visione dei cavalieri polacchi che galoppavano alla carica, come se davvero fossero nella sua stanza. Solo pensando una mente geniale e anche (o forse proprio per questo) un po' alterata, si può capire l'immensità musicale di un uomo che, come in questo splendido rondò, ha raggiunto un tale grado di immedesimazione con il pianoforte da esprimere le sue emozioni solo tramite le note di questo strumento. Davvero si può dire che Chopin piange, è triste, scherza, gioisce o si consola solo tramite le note del piano, quasi come se non avesse una sua personalità al di fuori di esso.
I’m sorry, but her performance is not stunning. I don’t mean to be rude, but her performance was awful. There was no breathing space or delicacy whatsoever and too intense.
0:12 introduction 2:30 rondo 2:30 rondo theme, first: E-flat major 3:48 first episode: A-flat major 3:48 part 1 4:42 part 2 5:57 rondo theme, second: E-flat major 6:53 second episode: B-flat major 6:53 part 1: similar to first episode 7:46 part 2: different from first episode 8:46 rondo theme, third + coda: E-flat major 8:46 rondo theme 9:04 coda, part 1 9:55 coda, part 2
An excellent presentation Bravo brilliant my respect !!! very clean and followed precisely and vogetragen.Ich with an ease it enjoyed. Veiel cover everything with the re. Pedal. Not here ... .wunderbar THANK YOU
Disclaimer: The information being provide is highly doubtful and was acquired from a unknown historian (the unknown historian wrote multiple fake articles for various news outlets and was a prime suspect during the Watergate case). The whereabouts of the source of the information is unknown. It was passed on from Slominsky’s great-Grandmother whose great-great-great piano teacher connection to Chopin’s pupil Karol Mikuli. Slominsky’s great grandmother somehow spoke perfect cat and she told the story to Scriabin’s cat Mamuska. Mamuska the cat brushed up it’s English and later told Stravinsky’s about the account. Stravinsky quickly forgot about the account because all he could think about was delivering honey to Rachmaninoff doorstep at 3:00 am every night. Stravinsky somehow remembered it when he was struck over the head with a lightning bolt coming home from a stroll in the rain. Stravinsky absentmindedly told his plumber the story who then nonchalantly told his wife about it. The plumber’s wife had a mild liking for Chopin after being forced to take piano lessons for a year and a half. She wrote it down in her notebook and forgot about it… etc. … 40 years later an unknown historian somehow broke into the plumbers house and stole the now lost and the only copy of the written account of this story. There is a theory that the contents of the notebook incriminated Nixon during the Watergate trial in the 1960’s. Let’s not get too deep into this theory or we will end up 20 years before all of this started. The account: It was a cold February day in 1830’s Paris. The handsome young Chopin was invited to a legendary duel against the young sickly and delicate Franz Liszt. Chopin performed this Rondó at the Parisian Salon of a famous wealthy banker while Liszt dished out some Czerny exercises, Clementi sonatas, and his own unfinished works. Liszt attempted to play Chopin’s Op. 10 Etudes but ultimately failed. Liszt never practiced so his hands were stiff. The aristocracy frowned and shook their heads from disappointment. The concert was an utter and complete failure. One Countess remarked with great dread, “That piano just simply groans. Monsieur Chopin please will you get him off the piano. That man is a sickroom talent”. Chopin sitting in one of the fine velvet chair challenged Liszt “I can outliszt you Franz. You know that”. Liszt timid his intense social anxiety stumbled off the piano bench. The sickly Liszt somehow muttered these words, “Monsieur Chopin, the piano is yours to play”. Chopin exclaimed with great passion and gallantry “Hold my cognac Monsieur”. Liszt shaken from the mere presence of Chopin grasped the glass of Cognac to regain balance. Chopin sat down at the piano, cracked his knuckles and groomed his luscious hair. Chopin began to play his new composed Introduction and Rondo. Chopin began to play. The madams gasped at the sight of Chopin touching ebonies and the ivories of keyboard. Chopin’s fingers moved so fast the critics though Chopin 18 fingers on each hand and 8 arms. The piano roared and growled with passion. Wealthy women began to swoon left and right. Liszt began to blush from embarrassment. Chopin improvised some thunderous chords at the end and the crowd went wild. The sickly Franz Liszt was no longer welcome in Parisian Salons for his terrible terrible piano playing. Liszt was largely forgotten as the young Chopin toured all across Europe eventually reaching the Americas and even the Ottoman Empire in Turkey. (Footnote: Just kidding Liszt is a genius and is one of the greatest composers to exist. Chopin is still the better of the bunch [Insert: Chopin snob/egoïste]. (Okay, I’m sorry! I have a predilection for Chopin. Chopin’s music speaks for itself). I am still trying to fall asleep Lol. It was a ton of fun writing this. It ultimately avails to nothing though.
This work is unusual, parts of it are monotonous and drawn out, but when it sparkles it really shines ( like from 4:52 to about 5:50). This may be heresy to some, but I’d like to see it edited to showcase the really stunning parts (plus, it really is too long).
Complete disregard for Chopin's dynamics markings - when there is piano, she plays forte, when there is forte, she plays fortissimo. Gets so heavy on the ear after a while. It seems the judges noticed this too, and eliminated early.
First of all, when "major" or "minor" isn't included, it's assumed to be major. Secondly there are plenty of compositions that fall into neither category and simply have modal centers. Thirdly, E flat is not a pitch it's a note name. It can't be called a pitch because it doesn't specify an exact frequency, as "E flat 4" would as the register is known.
