Hello and welcome to my channel! My name is Cole Anderson, and I focus on masterpieces from the piano repertoire, providing in-depth analyses and complete performances. I post a new video every Friday. Please take a look at some of my projects, and please remember to subscribe and consider supporting my Patreon account if you like what I am doing!
Пікірлер
The Polacca in the last movement of Bach's first Brandenburg is, I think, obviously a Mazur. Do you agree? -Toby
Thanks for adding lot to my understanding of this, my far and away favorite, etude. -Toby
Yes, the processional theme is the beginning of the wedding ceremony and the beginning of he eight-note flourishes marks the presence of God (the falling fifth iterated by the priest earlier in the piece). The key of C#sharp major is the relevation of God, which vanishes gradually.
Hello there ! I enjoyed this video very much. One of my favourite piano pieces is Opening (from Glassworks) and, of the many performances I’ve heard, the composer’s solo performances (many littered around KZread) are my least favourite, mostly due to the tempo being far higher than the 92 BPM written on the score. (The recording quality is another factor.) The version on the original 1982 album (played by Michael Riesman) was always definitive for me because I love the my attention shifts between the left hand quavers and the right hand triplets. However, I also love the performance by Vikingur Ólafsson on the 2017 album Philip Glass: Piano Works where, it seems to me that whereas my shifting focus on Riesman’s performance is due to my mind, I think Ólafsson is deliberately stressing one hand (and sometimes one note, or notes). I would love to watch your take on this Sir! and thank you again for this video.
very interesting 👍👍👍👍👍
Love your different hair styles
Have you listened to Yunchan Lim version??
nice: Cortot also played it in 432 Hz :)
Jede wache Seele spürt: Ein Gott hat seine Hand geführt.
Great technique but like a machine. No taste.I mean the first one. kzread.info/dash/bejne/m659r8hyXdO3d84.html This is better than anyone shown in this video.Or litsen to Yunchan Lim. The best!
The Margulis recording is nice in some respects, however, it is energetically impotent. Pollini’s recording is best, he achieves something most Pianist miss, that is, a full, continuous legato in the chromatic line, as well as the bringing out of the two lower notes of each chord in the right hand. Bachaus recording, while lacking in some respects (i.e. many brakes in the chromatic line, missed Notes, lack of continuous legato), is closer, in tempo, to the energetic requirement Chopin intended. 144bpm is the lowest end of the spectrum for this piece.
Margoulis: lyrical; final version strident.
Thank you! This was an informative and inspiring video.
My favorite is this one. ¿How do you find it? In my opinion it has a great balance between speed, clarity and artistry. kzread.info/dash/bejne/h5OrsKN7gNLZlJc.htmlsi=F2KcOvvZ-R8J7Gg6
I grew up with the Schenker edition. However, for fingerings, the Henle app is it. Most of the Beethoven sonatas have the fingerings by Saint Saens, Arrau, Schnabel and several others. The fingerings by Michael Korstick--also in the app--are the most ingenious for my money. They also have the fingerings by that awful German, Hans Martin Theopold. The only downer is that Henle makes you pay more for fingerings by Murray Perahia. That said, there's more to life than fingering. The points made about the Bulow edition in this video are thought provoking. I have to confess, I never got that deep with Beethoven.
Listen to Yunchan Lim's version. I think it sets a new bar.
Dear sir, you elegantly put into words thoughts about pianists that I struggle to find. Thank you so much
I loved your video and the Comments, as well as Margulis' interpretion. Cyprien Katsaris alerted me to inner melodies. A youngster named Arielle Beck does the same in Nos. 2, 3, 5, and 10 of the Op 25 Etudes: Arielle Beck (14 yo) Chopin 12 Etudes Op 25. I agree that a slower tempo allows the opportunity to play with a more nuanced interpretation. I suggest viewers listen to these: Arielle joue la "Valse Op 64" de Chopin au piano, Arielle Beck (10) Rameau Le Rappel des oiseaux, Arielle Beck (13) Mendelssohn Variations sérieuses op 54.
Such an inspiring KZread. Love your Mozart sonata interpretation too. Btw - Kempff's daughter Diana Kempff has written an autobiographic novel "Fettfleck" about her unhappy upbringing as Wilhelm's obese daughter in the cultural aristocratic Kempff family. Besides, Kempff has written a poetic autobiography Unter dem Zimbelstern - English: "Under the Zymbal Star"
This piece feels like a distant relative to Ravel's Gaspard de la Nuit - spooky and fiendishly difficult.
You are a wonderful music teacher even if that's not actually your profession.
It takes a great musician to make these etudes sound like great music. Remember Schnabel's dictum? Cortot does this in his inevitably echt-poetic performance. Rubinstein would likely be as poetic, a pity he never recorded it.
Wonderful!
Genial music by F.Chopin and absolutely fantastic performance 🎹👏👍thanks for sharing All the best
I learned from Arrau's lineage and am grateful. Thank you for this eye opening video.
I would very much like to know the name and status of these commentators ,and perhaps listen to them to play !
kzread.info/dash/bejne/n2hstbqPeabHZtI.html hear the composer play it!
I think „Moja Pieszczotka” translates best to something like „My Sweetheart” :) It’s based on a poem by the great Polish poet Adam Mickiewicz.
Nicely done and again the 'taste' you impart by way of rhythm is admirable. This piece is often 'smashed' through - loud and too fast but you've captured the 'essence' of it at just the right tempo in my opinion. Highlighting the subtle shades of dynamics and rhythms which illuminate the 'Bachian' shifting harmony structure. Beautfully done. I feel Chopin would approve!
When we talk about Bach's influence on Chopin, we should not forget Wojciech Zywny. In Warsaw, a provincial city of the Russian Empire, at a time when no one wanted to listen to Bach in the great capitals of Europe, Zywny introduced Chopin to the two notebooks of Das Wohltemperierte Klavier. Towards the end of his life, in a conversation with Eugène Delacroix, Chopin would say: "The whole logic of music is in counterpoint." This would not have happened if not for Zywny.
I am happy that you picked some Lieder, vocal music is less popular nowadays. I am also a fan of Vaughan Williams and Liszt, and would probably add some orchestral music, Liszt's Heroide Funebre is unavoidable on my TopTen.
Well I disagree completely, and I am sorry to hear that it is Vitaly Margulis. I am a concert pianist and I knew Vitaly from UCLA. I did not his interpretation of it at all 1) Completely overpedalled. Even Chopin's pedaling cannot fully be adapted to our modern pianos, as the French pianos were weak-sounding instruments, and the pedal needs to be changed more often on the modern pianos, lest you get muddy textures, as Vitaly gets. Where is the elegance and clarity that Chopin Etudes need? 2) The rubatos used are arbitrary and overdone. I got kind of sea-sick listening to it. They must come inevitably from the music, and also, one should never lose the pulse, no matter how free. I am not saying the playing of Chopin should be metronomic, but in this performance, where is the pulse--it is non-existent. So my vote would have gone to Pollini or Cortot.
YES! I used to go over this piece in the wee hours of the morning on arrival at my workplace. Always the most elegiac resort before the morning light. Would love to be able to play it, but alas! PWG
Wow, the texture you get out of those inner voices is absolutely magical! It's interesting to me that the same melodies tend to occur on the beats in the lower octave due to the figuration, but Chopin chooses to mark them off the beats and in the middle register instead. It seems to create a wonderful sense of freedom in the melody without disrupting the etude's rhythmic drive, just fantastic stuff!
Shishkin in the chopin competition takes the cake for me. The speed and articulation in that performance was just ridiculous
Totally agree with you, only use URTEXT is nonsence for students. Currently we can still easy to find Schirmer's (Bulow-Lebert) version for reference. It's full of remarks and everything is writen by those student's of Beethoven or Student's of Student's of Beethoven. The interpertation of these old full or remarks version, they should not been written by Beethoven, but might delivery oral to these guys. To say these 1800's version are wrong is totally ridiculous course these musians are far closer to Beethoven. I would just like if i could only have this Schirmer's version. I started mine first 3 of his sonatas on this edition only, it really help me to understand these masterpieces way beyond my musical knowledge 20 years ago. And it really saves me a lot of time to understand these details. You can see those mater class by all these beloved pianists, their knowledge actually comes from this version a lot. After that i have more versions to research more detail into it. Beyond all URTEXT books I will say I like new version of Henle most. I won't say it's the most accuate urtest (and we will never know it's the most accuate?) but because I have already have all my Bach collection in Henle and thier print are actually most satisfe my eyesight, the notes are bigger than others, hahaha.... Now I use Henle to play on piano (cause my eye have already fully get used to Henle's style of type setting and Henle provide largest notes) and I sight reading Henle Scores much smooth than any other publishers. And i read Schirmer's on my desk. I will copy those most important things on Schirmer's to Henle to remind myself. Fingering, I always find any Schirmer's fingering worked better than anyother publisher. I won't stick to any fingering of any version but i would always like to check back on Schirmer's for reference. Schirmer's Beethoven fingering are already just like fingering by myself. And I will always check where it's different than my instinct and usually i can find there is someting i just missed. But these old edition has a main drawback, I just realized I play one piece always the same kind. It's all marked on it so if i put it in front of me i will try to do everything as on the score. I would like i play any piece differently everytime. Especially I play Schirmer's edition of Mozart sonatas i jus stick to it and play over and over again and same and same. My brain might become lazy on it. Thus i find myself to play with URTEXT and read with old versions it's best for me. My teacher is a fan of Schirmer's and younger pianists seems not really looked into it. I am glad that I saw the trend that people totally switched to urtext for teaching and learning these pieces. I can say old pianists were start and grow with Schirmer's, Schiff, Barenboim. Just find their masterclass on youtube, they said lots of details that just printed on Schirmer's. New generation pianists are clearly grow with Henle's such as Lang Lang so their Beethoven don't have that much of small details which only exist on these Schirmer's. Just search Barenboim give Lang Lang masterclass on Appassionata (and even Schiff's masterclass the same place) just find 1st mov bar 51-52 how they played according to Schirmer's and how Lang Lang and other younger generation played according to urtext. Also see the difference of Pathetique 3rd mov lift hand of bar 51-56. How can i say? I will agree that urtext version actually lost details here. Historic version should be correct in these places.
Heavily inspired by Hummel's etude no 10, Opus 125 (Charles Rosen's observation).
The clarity is incredible! No notes get caught in the storm of the very rich textures of this etude because of the pedal.
I thought about your question about a baroque piece that uses Picardy 3rds at the beginning and end. I was trying to think of Bach keyboard works in ternary form. More often it's binary form, where the A section in a minor piece ends on the dominant or the relative major. One could consider forms like the Minuet I / Minuet II / Minuet I da capo to be ternary form (or Gavotte, Bourree, etc). I noticed that very often in the minor key suites, the first piece ends on an open fifth (or even an octave), then proceeds to the major for the second piece. Bach is probably leaving out the third intentionally here so the shift from minor to major is not so abrupt. But one could choose hear the end of the first piece as a Picardy third if desired. You could even argue the major 3rd is implied because the 4th overtone of the tonic would be a major 3rd! This is the closest example I came up with so far--what do you think??
That’s a good idea, and probably the closest one could get. I know there are situations where a prelude ends with a picardy and then the fugue is in minor and also ends in major etc, but I can’t think of one continuous mvt with that effect at the moment.
I really like those recordings that go against the beaten pat, that make me hear more, and then again, hear more inside a piece I have known for years.
Along with 25/7 my favorite of the Chopin Etudes. Love the insights about tonic prolongation and the use of the subdominant---this is why I follow you! Excellent performance, including your flexibility with the tempo to achieve different colors and effects.
Yaaaay, Cole. You are very good at this. This is my favorite format of your videos; your clear explanation, insights and comparison, made visible with the score and your fantastically impressive virtuoso inspiring performances! That's why I enjoy following and supporting you! Beautiful buildups in this etude indeed and very carefully and convincingly executed! I love Chopin's music and your piano playing. (But I also follow your other formats with great interest, of course! ;-)
As ever, a fascinating analysis and an awesome, virtuoso performance that was just fabulous: bravo, Cole! Chopin's early use of the Picardy Third does not signal the Etude is coming to an end, which is when Baroque composers could choose to end a piece in a minor key on a major chord. As you remark, many works by Bach scored in minor keys do end with a Picardy Third, creating powerful nuances in mood and expression in the music. The seriousness, pathos or profound message of the music prior to the cadence is thrown into greater relief by the change of mood suggested by the Picardy Third. This is what Chopin seems to want us to sense just before the development, and I think it is genius! I cannot think of an example of such a transformation occurring in any Baroque music I have heard or played. Bach may have inspired Chopin . . . but I can imagine Chopin would have left Bach astonished with his early and powerful use of a Picardy Third!
Hi Cole, thank you so much for this most insightful tutorial and awesome performance.
Have you heard Gekic?
One of my all-time favourite Etudes! Great analysis and playing as usual! I'd be curious about your opinion on the Chopin-Godowsky version of this piece - I think it's one of the best and most satisfying - in C# minor (like his Revolutionary version too). A video about the Godowsky versions you think are most musically successful would be interesting too! I enjoy them all to some degree but some are definitely more satisfying than others. I particularly LOVE the Mazurka he creates from Op 25 no 5 and the Polonaise he creates from op 25 no 4. Those ones totally reinvent the pieces rhythmically instead of layering technical wizardry and added melodies like most of the others do.
Thank you! Yes, I’ve been wanting to do a few of the Godowsky studies at some point, I’ll keep those in mind. I don’t remember the Godowsky version of this one, I’ll go take a look
Although it sounds perhaps quite mechanical and has a large focus on virtuosity, my favourite recording of this is still a live recording by Sokolov, the precision, speed, and passion he plays with is incredible.
I like that one also!
Sokolov for the cold, merciless mechanical wrath of the sea. But Cziffra for the leviathan ocean
@@archsys307 yes! I usually dislike Cziffra's Chopin but the intensity of the bass in this one is so great in Cziffra's rendition that it makes it sound different. Ofc in terms of virtuosity, Sokolov's rendition is superior
I am one of the people who have played and performed this one not at the quality I would have liked. I found it very difficult technically. What I found was that I could get it down well but it deteriated very fast, so as part of a 75 minute program or something I was spending way more time on it if I wanted to nail it but at the expense of my other pieces. I have a couple of fairly bad live performances of if on my channel. I found it very difficult to play super accuracy at speed compared to other more 'difficult' pieces like winter wind and op 25 no 6. I think it is one of those pieces one has to relearn a couple of times to really master and I look forward to doing that in a couple of years. By the way, it wasn't really relevant to the video but I assume you are aware of the sokolov performance of this at an incredible speed with astonishing accuracy. Not my perfect conception of the piece but one of the most impressive technical displays I've ever seen
Yes the Sokolov is amazing! It’s almost out of character for him to blast through something like that, but like everything he does, he plays it with 100% conviction and authority, so it’s hard to resist, even if in retrospect it (maybe) seems too hectic.
You think you could do one on etude 10 no 5?
@@MRulli427 yep, that’s one I’m working on right now. Almost there!
@@TheIndependentPianist Thank you so much 😁, I am also working on that piece so hearing your interpretation would be awesome. Good luck👍
Your choice of Chopin op25 no12 is really fitting after your video on Liszt Ballade 2! I wish you have a nice weekends