Chopin Conclusion, Regarding Etudes Options

[YetAnotherPianist]

Now theoretically, these are ETUDES (studies) we're talking about here...so you COULD actually just use them as a technique developer, focusing on technique rather than emotion. But obviously it also comes down to how the pianist interprets them as well i.e. play them with Nocturne like passion or play them as just normal studies (which was their original intention!)

The Études are romantic minatures like much of Chopin's other repertoire - they are to be played as such, without any concessions for technical difficulty. Chopin's intention, I'm sure, was that they'd serve to develop technique and one would know if one had succeeded if the technical issues don't get in the way of how one interprets the pieces. And, of course, if one doesn't have to mask poor technique with 'interpretation'....

[IrisH - LoonY]

Hey,YetAnotherPianist, recieved your email, my emails wont send for some reason (IMG:style_emoticons/default/dry.gif) So here goes nothing.

Erm, offhand, my repertoire includes

Introduction and Polonaise Brilliante in C for Cello and Piano (intro so far, the cellist I'm working with isn't ready for the polonaise yet (IMG:style_emoticons/default/dry.gif) )

Cello Sonata in G minor 2nd and 3rd movements

Piano Sonata No.2 in B flat minor 3rd and 4th movements

Preludes No.4,6,7,9,10,15,16,17,20,24

Nocturnes No.1,2,6,7,8,11,13,15,18,19,20 (i think some of these may have actually deteriorated over the last few months, not too sure on 1,7,8,13 and 18)

Polonaises in G minor and B flat (his first polonaises) and No.3 and 4

Various Mazurkas

Berceuse in D flat

Trois Ecossaises

That's all I can think of...There is probably more.

Currently working on

Ballade No.1 in G minor
Concerto No.2 in F minor 2nd movement
Polonaise No.7 in A flat
Sonata No.1 in C minor
Barcarolle in F#

IrisH - LoonY

[Oddball]

All I can say is:

(IMG:style_emoticons/default/blink.gif)

[Trebor]

All I can say is bull...*cough*

[YetAnotherPianist]

Wow, have you got a mic? It'd be great to have a couple of those for the recordings website (IMG:style_emoticons/default/smile.gif)

[Storini]

Just compare them with the Pollini versions before installing them (IMG:style_emoticons/default/wink.gif)

[YetAnotherPianist]

(IMG:style_emoticons/default/biggrin.gif)

Once bitten.... (IMG:style_emoticons/default/wink.gif).

[saxlover]

Twice shyyyyyy, i kept the distance but you still catch my eye, I love you baby, do you recognise me, la la la doesn't surprise me.

Laaaaaaaaaaaaaaaaast christmas I gave you heart but the very next day you gave it away oooooooh



(IMG:style_emoticons/default/wink.gif) (IMG:style_emoticons/default/biggrin.gif)

[IrisH - LoonY]

Haha, not one that can extend 2 floors down to the piano no. Can't use the stuff in school either except for GCSE/A level recording.

IrisH - LoonY

[Trebor]

Haha, not one that can extend 2 floors down to the piano no. Can't use the stuff in school either except for GCSE/A level recording.

How...convenient.

[IrisH - LoonY]

Haha, not one that can extend 2 floors down to the piano no. Can't use the stuff in school either except for GCSE/A level recording.

How...convenient.

Hey, I didn't make the rules...if the rockers didn't constantly record all their rubbish and break the equipment in the process, I would more than likely have been able to record.

IrisH - LoonY

[sl123451]

I've clearly given off the wrong idea.

I'm talking about physical technicalities here! Of course there's a huge amount of emotion that is needed to really bring out the "Chopinesque" of his music. But really, the technical side needs to be accomplished BEFORE adding the emotional/psychological side.

Freddy Kempf once said that the Op.10 No.5 in G flat is one of the easiest to play, but one of the easiest to lose the skill etc required for playing this piece.

You don't actually have to be able to play a piece of music to tell how difficult it is...really...an in depth reading of the music and testing a few bits out is perfectly acceptable...but that's just my OPINION, to you guys, you may see it differently but hey we're entitled to our views...yes?

Now theoretically, these are ETUDES (studies) we're talking about here...so you COULD actually just use them as a technique developer, focusing on technique rather than emotion. But obviously it also comes down to how the pianist interprets them as well i.e. play them with Nocturne like passion or play them as just normal studies (which was their original intention!)

IrisH - LoonY

Hey,YetAnotherPianist, recieved your email, my emails wont send for some reason (IMG:style_emoticons/default/dry.gif) So here goes nothing.

Erm, offhand, my repertoire includes

Introduction and Polonaise Brilliante in C for Cello and Piano (intro so far, the cellist I'm working with isn't ready for the polonaise yet (IMG:style_emoticons/default/dry.gif) )

Cello Sonata in G minor 2nd and 3rd movements

Piano Sonata No.2 in B flat minor 3rd and 4th movements

Preludes No.4,6,7,9,10,15,16,17,20,24

Nocturnes No.1,2,6,7,8,11,13,15,18,19,20 (i think some of these may have actually deteriorated over the last few months, not too sure on 1,7,8,13 and 18)

Polonaises in G minor and B flat (his first polonaises) and No.3 and 4

Various Mazurkas

Berceuse in D flat

Trois Ecossaises

That's all I can think of...There is probably more.

Currently working on

Ballade No.1 in G minor
Concerto No.2 in F minor 2nd movement
Polonaise No.7 in A flat
Sonata No.1 in C minor
Barcarolle in F#

IrisH - LoonY

Seriously now...shut up!

[SteveHopwood]

And, of course, if one doesn't have to mask poor technique with 'interpretation'....

Or poor interpretation with 'technique'.

Neither of these are likely to disturb the originator of this thread.

Steve (IMG:style_emoticons/default/biggrin.gif)

[sl123451]

And, of course, if one doesn't have to mask poor technique with 'interpretation'....

Or poor interpretation with 'technique'.

Neither of these are likely to disturb the originator of this thread.

Steve (IMG:style_emoticons/default/biggrin.gif)

im sure he'll continue along his merry way.

(IMG:style_emoticons/default/biggrin.gif)

[IrisH - LoonY]

As I've said, I'm not attempting the Etudes for several years to come!

In my eyes, they're like the Paganini Caprices of the piano world. And like the Paganini Caprices, one should preferably study other etudes to gain confidence in the technicalities involved in the Chopin Etudes in order to gain a very well respectable performance and get round the tricky parts a bit easier.

IrisH - LoonY

P.S. I am aware that there are studies by Liszt which presumably exceed the difficulty of Chopin's etudes, But really they're regarded as more "Concert Etudes" (Like Concert Etude No.2 "Waldesrauchen") Rather than technical development studies.