00:00 Impromptu No. 1 in G Minor 02:16 Impromptu No. 2 in G Minor 03:56 Impromptu No. 3 in A Minor 06:11 Impromptu No. 4 in E Minor 08:26 Impromptu No. 5 in B Minor 11:31 Impromptu No. 6 in E Major Thank you for the scrolling. =D
@@simplicitas5113 It's the opposite though, it concludes in E minor but starts in E major. The piece is not actually in minor and is listed as "No. 6 in E major". And if you meant the fourth piece in the suite that doesn't conclude in major either so no way you meant that one haha
Well played, nice dynamics! The third is in my taste a bit too fast, a "march on the double", perhaps? I think it would be even more majestic slower, losing the sense of being in a hurry especially in the last section with the arpeggiated chords in the left hand. Number five is a true gem among these otherwise quite rustic pieces, showing suddenly a more virtuoso bubbling, effervescent style. I won't complain about the last one either, it being remarkably slow, but opening a quite new sensation to the singing melody compared to faster interpretations. The only "complaint" I've got is regarding the fermatas throughout the pieces; I'd like to take the time to hear the silence at those moments!
Beautiful, thanks very much for uploading. One thing though, the second chord of bar 27 seems wrongly notated. I'd say it's just another DADF#? Instead of the DAD#F we see here. So the second chord of the penultimate bar before the theme.
Okay can someone explain why this piece has a 6/4 time signature ?? Like what’s the signification of it in this piece why not just 4/4 it would have made more sense to me idk
no 6 has such a heart-wrenching melancholy to it
00:00 Impromptu No. 1 in G Minor
02:16 Impromptu No. 2 in G Minor
03:56 Impromptu No. 3 in A Minor
06:11 Impromptu No. 4 in E Minor
08:26 Impromptu No. 5 in B Minor
11:31 Impromptu No. 6 in E Major
Thank you for the scrolling. =D
No.1 feels like finally accepting and coming to peace with something terrible that happened to you.
Tbh to me it ends kinda sad, but by all means keep interpreting it the way you do haha
@@LucBoeren yea it sounds like a funeral march
Beautiful music does not need to be complicated!
No 6, the E Major, is so right for that special moment alone with some illegal substance to smoke.
Bruh facts
Legal now in Ohio but I feels ya man
Bro's awakening to the wonders of life
No.5, No.6 💜
All beautiful. Thank you for posting
What a beautiful interpretation
No. 5 in B minor is my favorite!!
Same here!
I think this is after the Impromptu for strings :D
@@vorubergehenddnehegreburov2379 the outer sections of that piece are based on no 5, while the "meno andantino" middle section is based on no 6
@@elrichardo1337 ah ok
I just listened to impromptu in b minor for years and now I find out there is a number *4* in E minor too? I love life.
E major*
@@Martill3 yes but I meant the E-minor one. I know it concludes with E-major :)
@@simplicitas5113 It's the opposite though, it concludes in E minor but starts in E major. The piece is not actually in minor and is listed as "No. 6 in E major". And if you meant the fourth piece in the suite that doesn't conclude in major either so no way you meant that one haha
@@Martill3 I see the confusion. I did write no 6 in E minor.
I did however mean PIECE no 4 in E-minor.
@@Martill3 They are all great though, also no 6 in E-major :)
Thank you... is wonderfull!!1
Thank you for posting this. So helpful.
No.5 for me!
No. 5 is the most beautiful! And No 6. reminds me of Beethoven's Moonlight Sonata!
Big Grieg vibes
Of course the last two desrve all the praise, but I also really like the flavor of alternating natural and raised sevenths in the first one.
I feel like its missing the fast part like chopins winterwind, you can almost hear it
Well played, nice dynamics! The third is in my taste a bit too fast, a "march on the double", perhaps? I think it would be even more majestic slower, losing the sense of being in a hurry especially in the last section with the arpeggiated chords in the left hand. Number five is a true gem among these otherwise quite rustic pieces, showing suddenly a more virtuoso bubbling, effervescent style.
I won't complain about the last one either, it being remarkably slow, but opening a quite new sensation to the singing melody compared to faster interpretations. The only "complaint" I've got is regarding the fermatas throughout the pieces; I'd like to take the time to hear the silence at those moments!
Beautiful, thanks very much for uploading. One thing though, the second chord of bar 27 seems wrongly notated. I'd say it's just another DADF#? Instead of the DAD#F we see here. So the second chord of the penultimate bar before the theme.
Es como si fuera la banda sonora de "Los cantos de Hyperion"
All seem to be connected with one theme?
I have recently recorded Op. 5 No. 6: ua-cam.com/video/LXcNkExFUmc/v-deo.html
I do like Gimse's version a lot, although I play it quite faster.
video unavailable...
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6:11
11:31
Okay can someone explain why this piece has a 6/4 time signature ?? Like what’s the signification of it in this piece why not just 4/4 it would have made more sense to me idk
Arachnéen