CRAZY Chopin pieces

[tempest-Sonata]

Name some crazy chopin pieces and ill listen to it

these are my crazy chopin list:
Etude #4 op 10
Schezo #1
Winter wind Etude
Fantasie Impromtu
Revolutionary Etude
Ocean Etude
Thats all i can name hope u name more so that i can download them.
and listen to CRAZY chopin

(i need crazy chopin bec lizst is always crazy)

[Bosendorfer_214]

You named all of my favoite Chopin.  I have played just about all of them.  Op 10 # 4 is by far the hardest.  Take my word for it. The 2nd ballade is, I think "crazy."

You have great taste in Chopin!!!

Nic

[chopinetta]

what? you played those? so you like chopin? those are my favorites as well! hey people, if you like chopin, tell me what you think about my chopin site! https://clik.to/lodc/

[amee]

Op 10 no 1 is quite crazy as well.

[chopinetta]

yes tempest, those big evil arpeggios prevents small handed people like me from playing it. the left hand is quite easy bu the RH!!!

[tempest-Sonata]

Yes hahaha op 10 #1 is really hard
those really big arpedios sure is a big problem
not only that ive played it slow but its not so easy even if slow. i tried it hard its really a monster hahahaha.
why did chopin make a piece like that.
a piece very hard to play.

if i know one of you here who can play etude #1 op 10 tell me and ill be amused..  

[Black_Key]

Here's a few more that I think are very hard: Prelude 16 Op. 28, Etude 2 Op. 25 and the Tarantelle.

[davy10tunes]

What about the preludes? Numbers 8, 16, 18, 22 and 24  

[10Fingers]

what's the purpose of this post? what do you mean by "crazy" ?

[tempest-Sonata]

ten fingers i know that you are really good in piano.

please accept the fact that chopin is a romantic man.
he only gets crazy sometimes thats why im looking for some pieces where in chopin goes crazy.

pieces that are really fast and furious.

hahahahahahaha



now i think almost all etudes are crazy.
some valses are crazy but all valses have crazy climax.

[ned]

You guys are definitely on to something here. I would agree that op 10 no. 4 and Prelude no 16 are in the crazy category. Why? What is crazy? For me, it's a piece or passage that whips up enormous energy and feels like it is going to go off the tracks (and take you with it) but never does - a little scary perhaps, and leaves you wrung out emotionally. I would add the last movement of Chopin's Second Sonata. Liszt never came close to that! Liszt would always pull back somewhere in his pieces. Chopin never pulls back, he is relentless. You'd have to wait til Prokofiev's Toccata and the Finale of his Seventh Sonata to hear that kind of motor driven fury. But analyze the score, and you find that every detail is perfect, unlike a lot of Liszt's work.
The Codas to the Second and Fourth Ballades and third Scherzo are also maniacal. And what other composer could have used mind-numbing repetition like the "drum-roll" episode in the F sharp minor Polonaise to such incredible effect? And so satisfying! Nobody else can build tension with such implacable fury as Chopin, when he wants to, in either short or large scale pieces.
BTW, I have played Polonaise in F sharp minor as well as Third Scherzo. Neither has gotten much attention on this Forum, which surprises me.
Nedder

[ned]

You guys are definitely on to something here. I would agree that op 10 no. 4 and Prelude no 16 are in the crazy category. Why? What is crazy? For me, it's a piece or passage that whips up enormous energy and feels like it is going to go off the tracks (and take you with it) but never does - a little scary perhaps, and leaves you wrung out emotionally. I would add the last movement of Chopin's Second Sonata. Liszt never came close to that! Liszt would always pull back somewhere in his pieces. Chopin never pulls back, he is relentless. You'd have to wait til Prokofiev's Toccata and the Finale of his Seventh Sonata to hear that kind of motor driven fury. But analyze the score, and you find that every detail is perfect, unlike a lot of Liszt's work.
The Codas to the Second and Fourth Ballades and third Scherzo are also maniacal. And what other composer could have used mind-numbing repetition like the "drum-roll" episode in the F sharp minor Polonaise to such incredible effect? And so satisfying! Nobody else can build tension with such implacable fury as Chopin, when he wants to, in either short or large scale pieces.
BTW, I have played Polonaise in F sharp minor as well as Third Scherzo. Neither has gotten much attention on this Forum, which surprises me.
Nedder

[ned]

You guys are definitely on to something here. I would agree that op 10 no. 4 and Prelude no 16 are in the crazy category. Why? What is crazy? For me, it's a piece or passage that whips up enormous energy and feels like it is going to go off the tracks (and take you with it) but never does - a little scary perhaps, and leaves you wrung out emotionally. I would add the last movement of Chopin's Second Sonata. Liszt never came close to that! Liszt would always pull back somewhere in his pieces. Chopin never pulls back, he is relentless. You'd have to wait til Prokofiev's Toccata and the Finale of his Seventh Sonata to hear that kind of motor driven fury. But analyze the score, and you find that every detail is perfect, unlike a lot of Liszt's work.
The Codas to the Second and Fourth Ballades and third Scherzo are also maniacal. And what other composer could have used mind-numbing repetition like the "drum-roll" episode in the F sharp minor Polonaise to such incredible effect? And so satisfying! Nobody else can build tension with such implacable fury as Chopin, when he wants to, in either short or large scale pieces.
BTW, I have played Polonaise in F sharp minor as well as Third Scherzo. Neither has gotten much attention on this Forum, which surprises me.
Nedder

[ned]

Oops. Sorry. Looks like I sent my reply several times. Shows how excited you can get!

[amee]

Chopin made his etudes as technical studies, each centered on a particular technical difficulty.  Perhaps thats why many of them can be considered as 'crazy'...

[chopinetta]

Here's an excerpt from my book Chopin: The Man and His Music, by James Huneker

it's about etude no. 4 op 10

What a joy is the next study, No. 4! How well Chopin knew the value of contrast in tonality and sentiment! A veritable classic is this piece, which, despite its dark key color, C sharp minor as a foil to the preceding one in E, bubbles with life and spurts flame. It reminds one of the story of the Polish peasants, who are happiest when they sing in the minor mode. Kullak calls this "a bravura study for velocity and lightness in both hands.
Accentuation fiery!" while Von Bulow believes that "the
irresistible interest inspired by the spirited content of  his truly classical and model piece of music may become a stumbling block in attempting to conquer the technical difficulties."
Hardly. The technics of this composition do not lie beneath the surface. They are very much in the way of clumsy fingers and heavy wrists. Presto 88 to the half is the metronome indication in all five editions. Klindworth does not comment, but I like his fingering and phrasing best of all. Riemann repeats his trick of breaking a group, detaching a note for emphasis; although he is
careful to retain the legato bow. One wonders why this study does not figure more frequently on programmes of piano recitals. It is a fine, healthy technical test, it is rilliant, and the coda is very dramatic. Ten bars before the return of the theme there is a stiff digital hedge for the student. A veritable lance of tone is this study, if justly poised.

[amee]

I've been reading a book about Liszt, and it said one of the great pianists at the time could play octaves as fast as someone could play single notes!  This pianist could play the entire Revolutionary Etude with octaves in the left hand.  Ouch.

Later in his career, when Liszt had the world at his feet, he met this particular pianist again.  This time when he played the Revolutionary Etude, Liszt responded by playing op. 25 no 2 twice.  The first time he played it with just a wisp of the right hand; it was barely perceptible.  The second time he played the piece fortissimo, with the right hand in octaves the whole way through.  In this way Liszt showed he could play BOTH ways.

[chopinetta]

wow! liszt must be very great!!! i shouldn't have belittled his abilites. I womder if someone of these days can play it like that? i bet liszt had not done it before but only did it to show he was better than that pianist! and sure he is!!!

[amee]

Hi Chopinetta!

Yes, Liszt's technical abilities were amazing!  A large part of it was due to his study with Czerny for 18 months during his youth.  Czerny bombarded him with endless hours of technical practice, something Liszt took with him to the end of his life.  During his later life Liszt set a strict schedule of piano practice for himself - sometimes as much as 14 hours a day!  And during those 14 hours he would practice 5 to 6 hours of technical exercises.  Wow...5 to 6 hours of exercises daily...

[chopinetta]

Hello there amee!!!

i totally agree! liszt had been under czerny and czerny writes technical studies endlessly. so that explains it. 5-6 hours::hangs her head in disbelief::that's crazy because i only practice my hanon for 5 minutes.

liszt's life is only piano, piano, piano, 90% piano, the rest are to women.

According to George Sand, she and chopin goes to around 20 salons a day, depending on the satisfaction chopin gets while playing there.

liszt is the showman, chopin once told liszt he (chopin) was not born to play in public..

[tempest-Sonata]

HA???
liszt is surely amazing.
liszt practice for 5 hours in exercises is my total ( maximum hour a day to practice my exercises and repetoire )

i hope i can practice like liszt and i will play bumble bee in octaves.  hahahahahahaha
its really difficult

[10Fingers]

I know at least two living pianist who could do that as well: Jean-Marc Hamelin and above all Arcardi Volodos.
Letter played the Chopin Etude op. 10 no.2 in octaves. How about this?

[amee]

Even Chopin once said that he prefered Liszt to play his own (Chopin's) pieces!

[chopinetta]

but chopin may probably prefer his own way in playing the nocturnes! if only there was a recorder back in time!!! we all could listen to how great these composers are!

[amee]

Another thing I read about Liszt that I found quite interesting -

Once during a performance of his sonata, Liszt turned around in the middle and caught Brahms sitting fast asleep in the audience!  Perhaps that is one of the reasons Liszt never included a single Brahms piece in his performance repertoire...

[chopinetta]

oh brahms is very funny! but he is not showing proper concert etiquette! it must have hurt liszt's feelings! he must have gathered pride already at that time!

[chopiszte]

haha, op 10 number 4 isn't the most difficult, even of opus 10.  Well, maybe it is one of the twelve most difficult pieces of opus 10...ok very bad joke.

Some people even consider it an introduction to the more demanding opus 25 number 11, the winterwind, from what i've heard.

Brahms would not have been bored by Liszt, he didn't like Liszt though and probably wanted to annoy him.

If there was recording instrument in Chopin's time it the recordings would have sounded awful, the pianos were not as good and the recording equipment would have been primitive.  Rachmaninoff recordings sound awful, and Chopin played 70 years before the great Rach.

[chopiszte]

Scherzo number 1 is considered to be the simplest of the scherzos.

The Ballades and Scherzos are all very difficult, and Polonaise opus 53 ("heroic") is really difficult.

My three favorite Chopin pieces are the Fantasie-Impromptu opus 66, Ballade number 1 opus 23, and Ballade number 4 opus 52.  All are of high technical demands.

Octave Etude opus 25 number 10 is probably the most tiring Etude, maybe the most difficult.  Opus 10 number 2 is also a difficult piece, as is opus 10 number 1,  and I have heard that opus 25 number 12 is also a real piece of work.  It does sound it.

[e60m5]

The Chopin Op.10 no.1 is difficult, but I don't think it's as hard as many make it out to be - and yes, I do play the piece myself.

Wow, Liszt playing the 25/2 in octaves??   Where'd you hear that from? I'd love to hear other anecdotes regarding the great man...  

[amee]

Hi e60m5!

I read it in a book about Liszt.  

[Le-ackt]

Chopin OPus 25 - 12 C minor Ocean Etude is Overwhelming in sound , but is difinitely worth to learn . since two hand are in even action , is easier to learn as it sound in the recording . But is harder to push the speed and dexterity and finger strength over to bring out the full power of this piece .
I played this piece still 4 months . Still cant reach the full speed , only 4/5 speed i can reach without warming up . and the thing is finger strength is absolutely demanding . This piece and The winter Wind etude are together forming a full picture of Chopin's anger and frustration and worries  .

[chopinetta]

hey why don't you listen to the OCEAN etude in https://www.chopinsocietyofhouston.org/ a cute little boy of 11 played it, the name's Aleksei Fedorov. I believe he's more talented than Agape Chen... just go to the "Our Artist" corner of the website.

hello chopiszte, have you heard that chopin doesn't like fantasie-impromptu? i don't understand why, and many people of those age and critics as well say that it's one of those posthumous pieces worth listening to. i think everything chopin is worth listening to!

anyway, it doesn't really matter if chopin doesn't like it because we like it! hehehe

[chopiszte]

yes, Chopin did not like his Fantasie-Impromptu.  He did not permit its publication but it was published after his death.  The stupid (sorry) Chopin told his sister to burn all his unpublished manuscripts after his death! She never did, so luckily we still have the Fantasie-Impromptu, some of the nicest nocturnes, and many other pieces.

It is possible that Chopin thought the Fantasie-Impromptu was superficial, but it really is in my opinion a profound and powerfull piece, although not as intricate as the Ballades.

[chopinetta]

yes that is very true. sometimes i feel like chopin is acting so stupidly. but i know composers understand this one. they are very difficult to satisfy! chopin said those works are not meant to be published because only those which are beautiful should be.

he is depriving us of our joy of hearing his works! and one wierd day before he died he told the people to cut his body open!

our beloved composer is afraid of being burried alive!

and now his heart is in warsaw... at his request..

[chopinetta]

yes that is very true. sometimes i feel like chopin is acting so stupidly. but i know composers understand this one. they are very difficult to satisfy! chopin said those works are not meant to be published because only those which are beautiful should be.

he is depriving us of our joy of hearing his works! and one wierd day before he died he told the people to cut his body open!

our beloved composer is afraid of being burried alive!

and now his heart is in warsaw... at his request..

rondo op1 can be considered a crazy composition of someone at 15... chopin is a prodigy!!!

[chopinetta]

yes that is very true. sometimes i feel like chopin is acting so stupidly. but i know composers understand this one. they are very difficult to satisfy! chopin said those works are not meant to be published because only those which are beautiful should be.

he is depriving us of our joy of hearing his works! and one wierd day before he died he told the people to cut his body open!

our beloved composer is afraid of being burried alive!

and now his heart is in warsaw... at his request..

rondo op1 can be considered a crazy composition of someone at 15... chopin is a prodigy!!!

[chopinetta]

oops! i sent my reply many times! sorry folks!

internet connection is failing me! i clicked post, internet connection disconnected, i connected again then it's "fill subject form" or something, so i clicked back button and clicked post, samething happened!

[amee]

Also, Chopin's last request was to have Polish soil sprinkled over his grave.

[chopinetta]

yes, that's right amee! elsner gave chopin the silvern urn with polish soil so that chopin might never forget poland. the soil was sprinkled... he used to bring the urn wherever he went!

[amee]

Here's something I found interesting;

In an interview with Artur Rubinstein, one of the things he talks about is Chopin's dislike of the proclaimed link between literature and music.  Rubinstein said, "The only time he (Chopin) admitted something of this sort (literature and music being linked) was when he wrote about the Larghetto from his F minor Concerto...'out of love for that stupid girl in Poland who sang very well but sometimes out of tune.'

[chopinetta]

that's sarcastic of him! he might want to call me an idiot some day, i'm always out of tune, lol!

[tempest-Sonata]

enough of this foolishness amee and chopinetta.
just say that chopin is cool and handsome and very very very irristable. thats y people cant stop praising and critisizing him.

[tempest-Sonata]

Hey
many preludes are really crazy. hey and by the way reply more crazy chopin. i just love to hear it

[chopinetta]

chopin wrote many compositions which got lost. so we don't know if they were "crazy."

[amee]

One of Chopin's requests was to burn all the manuscripts he had not completed or perfected upon his death.

[lea]

wot grade r they

[amee]

Which pieces do you mean, Lea?

All the pieces tempest-Sonata suggested in his first post are difficult.

[chopinetta]

chopin requested his sister. i think the sister didn't do it, because we wouldn't have the posthumous works and the works listed in the BROWN INDEX. what is BROWN INDEX?!

[amee]

On one occasion the orchestra completely upset Chopin by refusing to play one of his pieces for piano and orchestra because of his illegibly written orhcestra parts!

[Le-ackt]

Is that really so haha , well i wouldnt be too suprise after seeing his menuscript pictures from some chopin sites , his writting was really ......... big mess . I guess the only one who could read his menuscirpt was chopin himself , honestly I couldnt really tell what note was what except a big mess of ink.