chopin etude lisitsa

If rubato in Chopin’s work in general might be up for some more detailed discussion, in this, strong rhythmical etude, there is in fact no doubt that it was supposed to be played strictly in time. Ukraine-to-North Carolina transplant Valentina Lisitsa has gained tremendous popularity by using YouTube (75 million views and counting) to market her music. 10 and Op. Jan 22, 2014 - Explore Cody Chan's board "Valentina lisitsa" on Pinterest. After all, what would good musicians like Beethoven of Chopin care about the metronome? But even this “simple” allegro seems to be far out of reach for two virtuoso players with a perfectly accomplished technique! Is Pollini’s Chopin Etude Opus 10 no 9 too slow. At one hand those original Metronome Markings are taken as to “proof” a performance like the one I made is too slow. Artist: Valentina Lisitsa. 1 in C Major, Etude Op. Jul 1, 2013 - If we look at the beginning, those runs are difficult to give a deep, accentuated sound, even in double beat, the runs need to be played with full sound, but this aspect here is more difficult than for instance in his etude in C sharp minor where the fingers of the hand remain closer to each other. The Schumann fits Lisitsa's strengths; she has formidable technique in passagework and is exceptionally skilled at bringing out the kind of inner counterpoint that the Symphonic Etudes are all about. 12 "Ocean Etude" 10. Valentina Lisitsa plays all with the energy, clarity, … So, could it be possible that my tempo is “correct” and current “mainstream” performances too slow according to what generally is considered to be Chopin’s wish? But, I believe truly that when Chopin would return for a moment, we would be inspired but perhaps even in a shock. Let’s compare my version with two brilliant “mainstream” performances, one by Valentina Lisitsa and another by Maurizio Pollini and see what we can learn. Released in 2020. 2 in a minor and more). "Wonderful, dressed only in her nighty!" See more ideas about pianist, classical music, music. The way he played the piano will remain for always reduced to the descriptions of contemporaries. 13, of Schumann, rendered with five extra variations in the middle excised by Schumann from the work and published posthumously (the work is essentially a set of variations that spills over its boundaries, something like the Diabelli Variations, Op. Check out Chopin: 12 Etudes, Op.25 - No.3 In F Major by Valentina Lisitsa on Amazon Music. And secondly, it is an argument that simply is absurd if only taken into account the tens of thousands of metronome numbers we have, only from the first half of the 19th century. For sure, if Chopin would return only for one hour to play his famous Revolutionary etude in C Minor, the least you could say is that we all would be inspired by what we heard. And also about the fact that in the way I see this problem solved, I’m able to perform a 100% of ALL metronome numbers. 8 (Variation 7): Sempre marcatissimo, Etude No. Their performances are given here only as a kind of reference of what positively could be called “mainstream” performances of this piece. Accentuation by Chopin: important or not? One would wonder of course why so many composers took the effort of giving metronome indications for so many works? 1 (Variation 1): Un poco più vivo, Etude No. The Études by Frédéric Chopin are three sets of études (solo studies) for the piano published during the 1830s. Catalogue No: … Yet, the tempi they take, are far below what Chopin prescribes to be the basis or the basic tempo for this etude. 9 in G flat major "Butterfly": Allegro vivace, No. Hmm. As I am convinced that also Frédéric Chopin used the historical metrical readings for his metronome numbers, where every tick equals only half of the intended note value, I play this etude, indicated by Chopin as quarter note 160, in eigth note 160, which is exactly what this metronome number meant in those days. Valentina Lisitsa: Études. Rubato a solution when it’s going too fast? 25, No. Check out similar artists on Napster. Don't believe everything you read in … In a much higher tempo than Chopin envisioned, giving each 16th note its own weight and time to sound, this becomes impossible, what is proven in both performances: both players use the pedal almost constantly and need to use it during the complete runs, to help build the sound. Just spent 10 minutes on google book search and you quickly learn how serious composers were in exactly indicating their pieces with the utmost precise tempi they considered to be ideal. 11 (Variation 9): Andante espressivo. Her performances don't really sound like Cortot's beyond a somewhat idiosyncratic quality; Cortot's readings apparently caused Rachmaninov to laugh so hard that his false teeth fell out, and it's hard to imagine that happening here. Thanks to the invention of the metronome in 1815, it became possible for composers to accurately note the exact speeds in which they themselves performed their music. 10 and Op. Listen to Carl Mikuli, one of his most known students and I quote: “In keeping time Chopin was inflexible, and many will be surprised to learn that the metronome never left his piano. They could have saved lots of hours by just asking the player to play as fast as possible, the more since so many of their speed indications are- again read literally- no less than warp speed. We DO play TOO FAST: The 1816 “Maelzel” Metronome Directions explained, Too Slow? It was first published in 1833 in France, Germany, and England as the first piece of his Études Op. 24 tracks (58:26). Jul 30, 2012 - - Chopin Etude No. 10, No. Pachelbel Hexachordum Apollinis - LP/CD/FLAC/MP3/MP4, Pachelbel Vinyl Disc n°1 - 10 - Collector's Items, Wim Winters plays Organ Works of J.S.Bach. 10 No. Diving more into detail in the score, we see also tiny little problems, that at first escape our attention, but point to important deviations of Chopin’s own indications. Title: Chopin & Schumann: Etudes. How solid is that as an argument? Her performances don't really sound like Cortot's beyond a somewhat idiosyncratic quality; Cortot's readings apparently caused Rachmaninov to laugh so hard that his false teeth fell out, and it's hard to imagine that happening here. This study in reach and arpeggios focuses on stretching the fingers of the right hand. Indeed, a performance tells more than a score and certainly in the case of music written by the greatest musicians, a lot of detailed information on the true meaning of their music would be revealed if brought to life under their own fingers. Both Valentina Lisitsa and Maurizio Pollini are brilliant performers that do not need any comment nor advice from me. Following her recent well-received Michael Nyman recording Chasing Pianos, Valentina now turns her attention to the Romantic Era and the Études of Chopin and Schumann. Stream ad-free or purchase CD's and MP3s now on To advance her career, in 2010 Lisitsa and her husband put their life savings into recording a CD of Rachmaninoff concertos with the London Symphony Orchestra. For instance, Chopin wants to have clear accents on each quarter note, certainly in the runs of the first two lines. When pointing to that discrepancy, the discussion changes to a common “believe” that metronome numbers were certainly not meant to be reached, or even to be taken seriously. Valentina Lisitsa (piano) Lisitsa pulls off the technical high jinks of Chopin's etudes with fleet fingerwork, though they don't sound enough like musical poems. About. Firstly, you will not find one single source in the complete 19th century to back you up for that. No. Regardless of Chopin’s own number, and regardless of the discussion on single or double beat,  4th = 120 or half note = 60 is almost by definition too slow for an allegro piece. An interesting chapter in a unique contemporary pianistic career. As with many metronome numbers like these, if taken literally, as is common practice today, this etude is rarely if ever heard in the tempo of 4th = 160. Étude Op. Since one can have a debate on the reading of metronome numbers –that is not too difficult to have- but looking to “mainstream” performances often showcase problems that might form stronger cases for the other “truth” than one at first would think. 25 No. Showing 81 - 90 of 190 results According to the booklet notes, the Chopin etude performances of Alfred Cortot served Lisitsa as a reference point. Try If you would compare dozens of allegro’s from Beethoven to Chopin, in similar notations as this etude, you will see that an allegro always will be around half  = 80, and that half  = 60 is preserved for more moderate tempi. Often references are made to the early 20th century recordings by pianists who could be considered to be second generation students of Chopin to hear at least echos of Chopin’s own playing. But the same numbers will never be taken as a “proof” to the other side, to show that, according at least to Chopin, performances like the ones of Lisitsa and Pollini are too slow. For the record: I am not criticizing their performances in any way. All those metronome marks were meant to be played, they were accurate, precise tempo indications. Valentina Lisitsa ist eine bemerkenswerte Pianistin, die zu den größten YouTube Stars der Klassik zählt. V. Lisitsa’s and M.Pollini’s Chopin Etude opus 10 n°12, Frédéric Chopin, Etude C#Minor, opus 10 nr.4 in Chopin’s Original Tempo. In order to make technically possible what is happening in the left hand and still give a little bit of room in the right hand, both performances have in fact a lot of sudden tempo shifts. Valentina Lisitsa is not only the first «YouTube star» of classical music; more importantly, she is the first classical artist to have converted her internet success into a global concert career in the principal venues of Europe, the USA, South America and Asia. No one should say that Lisitsa is merely an Internet phenomenon; more like her, taking the music directly to potential listeners through contemporary media, are sorely needed. Jul 17, 2012 - Valentina Lisitsa plays Chopin Etude Op. Frédéric Chopin 24 Etudes, a classical music Album by Valentina Lisitsa. Hello, Sign in. The ‘proof’ of Metronome Marks only goes in one direction today. Since changing a tempo, changes all other layers of that performance: character of the piece, articulation, phrasing, timing, touch and so on. Listen free to Valentina Lisitsa – Frédéric Chopin 24 Etudes (Etude Op. A few days ago, I have uploaded my version of the famous Chopin etude opus 10 nr 12 in C Minor, the so-called Revolutionary etude. Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube. 10 (Variation 8): Allegro con energia, Etude No. It is shown to you at the beginning of my video, click here to listen. Label: Decca. Think about this. It is remarkable that so many even legendary recordings share the same issue, since it is in fact a basic mistake. 10 no. Also Chopin. — BBC Music Magazine, February 2015, Release Date: 10th Nov 2014. 1 in A flat major "Aeolian Harp": Allegro sostenuto, No. 10 no. 9 in G-flat major, known as the Butterfly étude, is an étude by Frédéric Chopin.The title Butterfly was not given by Chopin (as is true for all Chopin pieces with such titles); however Arthur Friedheim said, "while some titles were superfluous, this one is inadequate.". Ihre Online-Videos erreichen zusammen über 80 Millionen Klicks und 150.000 Follower. We’re just got used to it so much in the case of this etude that we don’t feel the disturbances of it any more. 1 in C major, known as the Waterfall étude, is a study for solo piano composed by Frédéric Chopin in 1829. Certainly on the field of tempo, it is very well documented that performance speeds increased from around 1840 onward, where, even for those 19th century musicians who still were aware of a certain tradition, it was not even an option to keep those old habits alive over that what was considered to be new, better even and a result of an ever ongoing “progress”. A few days ago, I have uploaded my version of the famous Chopin etude opus 10 nr 12 in C Minor, the so-called Revolutionary etude. Genre: Classical. Both players fly around a speed of quarter note = 120 to 126. But the speed, the tempo of a performance does tell us a lot on the basis of his way of playing. Analysis 120, of Beethoven). That’s about 20 to 25% below Chopin’s indication. The Internet has propelled her to a spot on the roster of the major Decca label, and she has played mostly mainstream Romantic repertory with a diversion, on her last release prior to this one, into the piano music of Michael Nyman. Find release reviews and credits for Études: Chopin, Schumann - Valentina Lisitsa on AllMusic - 2014 - Ukraine-to-North Carolina transplant Valentina… But in the light of the unrealizable dream or wish we all share to hear Chopin play with our own ears, it is remarkable that the most valuable information on his performances is often rejected completely. This kind of rubato is for Chopin stylistically undocumented. BIOGRAPHY, SEASON 2019/2020. But even if he wasn’t, it is a too far stretched argument that those extremely fast tempi never were meant to be played. The fingers alone have not enough time to stay long enough on the keys to create this on their own. There is a weird approach to metronome numbers today.

Escursioni Abruzzo Bambini, Calcolo Imu 2020 Roma, Camper Mizar 170 Usato, Terremoto Sicilia Oggi, Virgilio Poeta Carattere, Corrado Pani Figli, Elementi Di Igiene Oss Pdf, Cagliari Calcio 1985/86, Voto Laurea Unifi Economia, Antonio Lorenzon Instagram,