Chopin etude op 10/9 WORK IN PROGRESS

[pianisten1989]

 My teacher and I have decided that I should try to play all Chopin op 10. I have played quite many of them already, but now going for all of them.

I played this through this piece in september (I think) last year, though I never really learned it. This is a recording from yesterday, and I started playing it the day before that.

It has got quite a few mistakes, and the dynamics isn't really working on my recorder. But maybe anyone could comment anyway?
I don't understand this piece very well, so I don't know how to continue (more than, ofc, getting rid of the mistakes), so any advice would be lovely!

[pianisten1989]

c'mon, 13 listenings! someone must have something to say..?!

[lelle]

I don't understand this piece very well, so I don't know how to continue (more than, ofc, getting rid of the mistakes), so any advice would be lovely!

What, more specifically is it that you don't understand about it? You have adviced me about technique (specifically wrist movement, which this etude seems to be all about) yourself so surely you know how to work on it to remove mistakes and so on?

Since dynamics didn't work on your recording it's a bit hard to tell, but what I'm missing is a sense of structure, I kind of just hear different sections with the same type of "accompaniment" that doesn't always feel connected. For example the transition between bar 28 and 29,; preceding bar 28 you ahve a buildup and in bar 28 you have a big fortissimo climax (the dynamics don't come across here in the recording). Then in bar 29 there comes the Db octaves in forte. While there is a new motif or musical idea in the right hand here, I think they are connected to the climax, like a continuation or "reply" to what was going on in the buildup and climax, but calming down a bit. A slight accent on the first beat (first Db in bar 29), instead of the crescendo from a quiet dynamic could help showing this I think, if you get what I mean?

Just some random thoughts :p I think a lot of musical insights will come by itself after a few more days or weeks of playing. I mean you know how to phrase stuff and you know how to work with technique, so I mostly think there needs to come across a more connected sense of structure

[perfect_pitch]

Hey Pianisten...

In terms of this piece... I don't think the dynamics came out in the recording as well as a great microphone could pick up, I think you have to think of this piece like an angry ocean - there is some angry swelling and parts where it seems to tranquil all of a sudden.

On the overall, I though it could be a bit more extreme at both ends of the scale - take the big moments and turn them into high-octane intense bellows that almost tear the heart strings out... and then turn the quieter moments into laid back subtle menacing passages that just ache to die away in sound.

I don't know - I've never played the piece, but I think it just has to be more extreme.

[pianisten1989]

Thanks.. It sucks that I can't seem to understand my recorder, cause this piece is nothing without dynamics.

I will read them both more carefully, once the my ***'d up neighbour stops with his f-ing building noise!

(how come they're always allowed to rebuild their roof, or whatever, the entire day, but once you play the piano a bit too long into the evening, people starting to get pissed?!)

[perfect_pitch]

I think that's just luck of the draw - I once managed to practice Rachmaninoffs Prelude in c sharp minor (the one with sffffz, one time until 9:30pm) and no one complained - the good news is that the neighbours on either side are deaf old people.