[Video] Chopin Etude Op.10 No.12 "Revolutionary" in C Minor

[lafo]

Favorite Etude from the first set of Chopin Etudes ) Hope you like it!

[brogers70]

Very impressive. If I had to critique I'd say two things. The right hand, I think, should be more legato, so that there's more of a feeling of line up there. And the left hand could be just as intense but a fair bit quieter. Maybe it was just microphone placement or something but the (very impressive) left hand sort of overpowered the right.

[spektralist]

Glad you posted this. Some impressive bravura.

I've been learning this etude for some time now, and while it's been relatively easy to learn the notes, Op. 10/12 in my opinion is THE etude where the challenges of making a dialectical point approach those of larger-scale works, maybe because such intrinsic musical content is compressed so much.

Anyway, bravo.

[vaniii]

I have followed you for a while.

Please keep them coming.

You make my mornings, but your speed is almost flippant.

Just because you can does not keen you should, Chopin was lyrical ya know.

Please, just my opinion keel them coming. I love a watch, and your bechstien.

[lafo]

Thank you very much for your comments guys!

Very impressive. If I had to critique I'd say two things. The right hand, I think, should be more legato, so that there's more of a feeling of line up there. And the left hand could be just as intense but a fair bit quieter. Maybe it was just microphone placement or something but the (very impressive) left hand sort of overpowered the right.

I agree 100% with you. The lines in the right hand are not like they should be and the left hand eats the right hand completely . I will keep working on that! Hard part is to be able to listen to your own playing..it did not sound to me like that when i was recording it haha

Glad you posted this. Some impressive bravura.

I've been learning this etude for some time now, and while it's been relatively easy to learn the notes, Op. 10/12 in my opinion is THE etude where the challenges of making a dialectical point approach those of larger-scale works, maybe because such intrinsic musical content is compressed so much.

Anyway, bravo.

Thank you very much! Yes, this etude is hard to get the "revolusion" cobined with the left hand and do everything in the limited time space I like this recording of Richter:

He goes completely berserk and crazy :Dd

I have followed you for a while.

Please keep them coming.

You make my mornings, but your speed is almost flippant.

Just because you can does not keen you should, Chopin was lyrical ya know.

Please, just my opinion keel them coming. I love a watch, and your bechstien.

Thank you very much! I will keep them coming for sure.. hopefully better and better
About the speed.. yes it sounds like that when i play it, but check out Richter`s recording.. he plays it even faster..but perfect in my opinion.. There is the Chopin, the revolution and everything that you want to hear.. :Dd I need more to think the piece and more practise

[ted]

Very enjoyable, as is all your playing, especially the jazz transcriptions. As someone untutored in classical music, it strikes me that interpretations fall into two types, roughly speaking, for these romantic pieces which comprise strong melodies and phrases accompanied by some form of orchestral finger work. Do we play this sort of stuff in a strictly notational manner, as a four-square progression of fast notes like a torrential baroque toccata, some notes of which happen to be accented as melody, or do we play the melody and fit the orchestral accompaniment, largely arbitrarily with respect to rhythm, around it ? It is obvious that some notes in this sort of music are much more important than others, but a deeper and far subtler question exists, namely does notation dictate rhythm and phrasing or is it an approximation for something else, the something else being essentially incapable of notation ? The same applies to many Chopin and Liszt pieces.

As I say, I know sweet Fanny Adams about classical music, but I have noticed an increasing tendency for notation to dominate performers' phrasal and rhythmic thought and I am not sure I like it as much as a free orchestral approach.

 

[lafo]

Very enjoyable, as is all your playing, especially the jazz transcriptions. As someone untutored in classical music, it strikes me that interpretations fall into two types, roughly speaking, for these romantic pieces which comprise strong melodies and phrases accompanied by some form of orchestral finger work. Do we play this sort of stuff in a strictly notational manner, as a four-square progression of fast notes like a torrential baroque toccata, some notes of which happen to be accented as melody, or do we play the melody and fit the orchestral accompaniment, largely arbitrarily with respect to rhythm, around it ? It is obvious that some notes in this sort of music are much more important than others, but a deeper and far subtler question exists, namely does notation dictate rhythm and phrasing or is it an approximation for something else, the something else being essentially incapable of notation ? The same applies to many Chopin and Liszt pieces.

As I say, I know sweet Fanny Adams about classical music, but I have noticed an increasing tendency for notation to dominate performers' phrasal and rhythmic thought and I am not sure I like it as much as a free orchestral approach.

 

Thank you very much!

Yeah there is a tendency to play like  a robot nowadays strict and all. And when you listen to the old pianists..they sounds so much different. I like the old ways but sadly sometims i play in the new way haha Still trying to improve in this direction