I 100% agree with you, issue with classical music is a lot of performers use a lot of technicality. Sort of stray away Chopin’s interpretation. Connect some of the composition with what Chopin is trying to say intimately and intellectually.
Hi Greg, I just watched your analysis of Ballade No. 3 and it was honestly very eye opening and inspirational. I enjoyed every minute of it and just wanted to thank you for putting all these lectures out for free. I am a young college student with a very short attention span who loves fast paced video games, but I find your videos equally entertaining :)
about the idea of a duet, at first, i was skeptical. because i’ve heard so many recordings that played only top notes and keep the lowers accompaniment, and they were already so beautiful in my opinion. but then you showed the duet to me. and that’s when i realized how perfect it sounds. it’s so different, but it’s great. it fulfills the concept and the meaning of this piece. i love it so so much. i am from the bottom of my heart thankful for your duet idea and for this long lecture. it’s not boring at all. i can see the passion in your eyes and how much you love it (and i’m sure everyone else can see it too). thank you for your hard work!
Ohhh... You've just made my day with your comment! I'm so happy reading this! Yes, I was also a little surprised listening to other pianists (as you've said: playing beautifully!!! ) When I couldn't hear the duet. I'm happy you like it!! Best wishes!
Greg, I’ve been having a pretty melancholy day for no particular reason but I always look forwards to your analyses to cheer me up, or at least give my emotions some more meaning. I’ll be starting college soon, and I’m not sure how available piano lessons will be there, but Chopin is such a big part of my life and Polish heritage that I’m sure resources like your videos will keep me satisfied! Please never stop doing what you do! Love, from New York.
This is an enchanting nocturne that is very much a beautiful duet - at places it sounds like two pianists are singing to each other. Your analysis is wonderful because it provides a context for the two voices that I didn’t appreciate before. In addition, I previously thought that some pianists- I’m thinking Claudio Arrau - played it too slowly. But the real beauty of this piece emerges when we hear the intersection and collision between the two voices that is lost when it goes by too quickly. So thank you for your analysis that captures the essence of this piece. Bravo!
Thank you for watching! You're always welcomed do watch other episodes as well. There are already around 90 videos in English (and another 90 in Polish). Best of luck!
@@gregniemczuk thank you. Yes I am currently watching Op15 No.3 - I am learning this piece and using your insight to try and play it beautifully (like you do)
Brillant video, I am currently learning this piece and this video's completely changed how I see and approach it, and I've come to appreciate it a lot more than I already had before. Thanks muchly.
You have such an inspiring channel and Im glad I discovered it and now subscribed to it. You give such in-depth analysis on the pieces you share with such passion and beauty in your playing. Most of these pieces are beyond my capabilities but I appreciate listening to and learning about them. Thank you very much for sharing.
Dear Sean, thank you very much for your presence, subscription and comment. My content is the effect of the pandemic, I've started making my lectures in April last year and it became my way to overcome such a difficult time for artists. It became my medicine for mental break down and now I'm so happy that it turned out to be appreciated and important for many people. You're invited to watch all the episodes in which you can get to know all the piano works written by Chopin and published during his life (the whole series will be finished by the end of January 2022). Best wishes from Poland! Greg.
Brilliant ! I heard this for the first time 2 days ago - I just switched the radio on at random and there it was . I immediately knew it was either Chopin or someone writing in the style of Chopin . The program was a recreation of a concert he gave in Edinburgh in 1848 which included this Nocturne . Yesterday I downloaded and printed out the music , so this video is perfect - I would never have framed it as an opera so I am very grateful , I just love your interpretation . Your channel has a new subscriber !!
This nocturne is so criminally underplayed, along with op. 15 no. 3. This was the first piece I studied in college and I was quite disappointed I was given this because I didn't understand it well and it didn't sound like the chopin I'm used to. Over the time I worked on it it became one of my favorite pieces to play. I hope this piece becomes more known sometime.
You got it perfectly, I loved this nocturne as soon as I heard it . And I loved that you presented the idea of a duet and that i felt that no one else notice until i saw this video which i am high grateful to see
I deeply love your thoughts and analysis on chopins work, I would like to see more of Beethoven, Mozart, Debussy, ravel, and many more composers. These type of videos makes me appreciate the work more.
I keep wondering how to practice the right hand part from measure 52 to 54. How could you possibly play trills at the bottom while having a voice on top?
First learn trills only with the original fingering 1-2 which you are going to use later, than play trills with the right hand and upper melody with the left hand, after a week or so, play it with the right hand only but in a very slow tempo, try to count the trill to have it regular with the melody. And after week or more slowly increase your tempo.
Very nice analysis! In my personal opinion, I feel you digressed a bit dismissively on the ending of this nocturne, by defining it as an “orchestral ending”. I always found this ending to be one of the most solemn, emblematic and even mystical endings in piano literature. Most interpreters don’t give it too much importance. I personally feel that the last four bars are a sort of a sign of the cross that a catholic would do at the end of a prayer. Ivo Pogorelich, controversial as usual, makes of the ending the most significant part of the entire composition, by dilating the tempo in a way that not even Einstein could have conceived🤣. I think he caught something in that finale that we all have missed!
52:50 Actually that is not B Major, that's C flat major (c flat - e flat - g flat) which makes it a major flat sixth chord in E flat major (modal mixture with e flat minor's sixth). Which is very cool, it feels a little deceptive. It also makes sense because the two measures before it is E flat major (I), then it goes to parallel minor (i), then finally to c flat major (flat VI) and back to tonic (I) no wait! actually it might be a german augmented sixth chord!! Yes. It has c flat - e flat - g flat - a natural, sounds like a secondary dominant seventh but isn't because it goes back to tonic.
Maybe with the title it's a problem with the automatic translation. In German UA-cam, the title is "Nocturne fis-moll Op. 48 Nr. 2. - Analyse - Vortrag von Greg Niemczuk". Well, it really doesn't matter that much.
Greg, doesn’t your interpretation of this piece conflict with a consistent theme of your analysis that Chopin used the nocturnes as a reflection of his own personal feelings and his experiences? Who would be the woman, whose voice dominates the nocturne?
@@gregniemczuk I think it raises the question of whether his vision of the nocturne within his aggregate works changed over time (as your videos suggest) or whether he had a consistent vision. My personal view is that his incredible affinity for the nocturne form reflected a belief that it was at night that individuals best reflect upon and articulate their deepest emotions. From an an early age Chopin was trying to write beyond his personal experiences. Candidly, that is why I find Opus 2 disappointing, as I believe he fails to capture the sexual power dynamic between Don Giovanni and Zerlina that Mozart understood so well. While I think his personal experiences naturally informed his vision, that is why I would resist the temptation to interpret the early nocturnes as a direct window into his personal feelings. When I listen to the second B major nocturne, it seems to me far deeper than frustration in not being able to marry a distant love interest. The musical figure first appearing (with riten) in measure 7 seems less to me “we cannot be together” than “I do not love you anymore.”
Thanks for this great analysis. Personally, I love Ignaz Friedman's recording for me unsurpassable. Cortot, Horowitz, Pogorelich, Nehuaus, Moravec, Hungerford made great recordings too! Sorry !! I love and play this piece.
I agree with you? Friedman is the best! Although he plays it faster but I love his duet. I prefer slower tempo because Chopin wrote it like this, but with pianists that you mention the tempo is not that important. They understand that this is a duet. Thank you for this enriching comment!
This nocturne really deserved a long and deep analysis. It is such an underrated masterpiece! ❤️
Thank you!! I'm happy that you think that way!
I 100% agree with you, issue with classical music is a lot of performers use a lot of technicality. Sort of stray away Chopin’s interpretation. Connect some of the composition with what Chopin is trying to say intimately and intellectually.
Hi Greg, I just watched your analysis of Ballade No. 3 and it was honestly very eye opening and inspirational. I enjoyed every minute of it and just wanted to thank you for putting all these lectures out for free. I am a young college student with a very short attention span who loves fast paced video games, but I find your videos equally entertaining :)
Wow, this is just wonderful!!!! You made my day. Thanks for watching! I made about 150 such videos in English! Enjoy and good luck!
about the idea of a duet, at first, i was skeptical. because i’ve heard so many recordings that played only top notes and keep the lowers accompaniment, and they were already so beautiful in my opinion. but then you showed the duet to me. and that’s when i realized how perfect it sounds. it’s so different, but it’s great. it fulfills the concept and the meaning of this piece. i love it so so much. i am from the bottom of my heart thankful for your duet idea and for this long lecture. it’s not boring at all. i can see the passion in your eyes and how much you love it (and i’m sure everyone else can see it too). thank you for your hard work!
Ohhh... You've just made my day with your comment! I'm so happy reading this! Yes, I was also a little surprised listening to other pianists (as you've said: playing beautifully!!! ) When I couldn't hear the duet. I'm happy you like it!! Best wishes!
Lots of love from India 🇮🇳
You are an inspiration! Thank you so much ♥️♥️
I greatly enjoy watching your videos from NY USA! Thank you for sharing this great perspective on Chopin music.
Greg, I’ve been having a pretty melancholy day for no particular reason but I always look forwards to your analyses to cheer me up, or at least give my emotions some more meaning. I’ll be starting college soon, and I’m not sure how available piano lessons will be there, but Chopin is such a big part of my life and Polish heritage that I’m sure resources like your videos will keep me satisfied! Please never stop doing what you do! Love, from New York.
Thank you!!! Good luck with your college and never forget mt videos! Each of them has it's own unique story. Best wishes from Poland!
This was so wonderful! I am learning this piece and you helped me to understand it better! Thank you.
Aw..! I'm super happy to hear that! Good luck with this masterpiece!
55 no 2 and 62 no 1 have always been my two favourite nocturnes: I think they are utter genius and beauty
This is an enchanting nocturne that is very much a beautiful duet - at places it sounds like two pianists are singing to each other. Your analysis is wonderful because it provides a context for the two voices that I didn’t appreciate before. In addition, I previously thought that some pianists- I’m thinking Claudio Arrau - played it too slowly. But the real beauty of this piece emerges when we hear the intersection and collision between the two voices that is lost when it goes by too quickly. So thank you for your analysis that captures the essence of this piece. Bravo!
Wonderful to read your words! Thank you so much!
How could one say the the melody is in solitude? the counterpoint in this piece is breathtaking
also great video as per usual greg !
Absolutely! Thank you so much!
Thanks for this video full of excellent insights. I love it and use your insights to apply to the pieces I am learning - thank you.
Thank you for watching! You're always welcomed do watch other episodes as well. There are already around 90 videos in English (and another 90 in Polish). Best of luck!
@@gregniemczuk thank you. Yes I am currently watching Op15 No.3 - I am learning this piece and using your insight to try and play it beautifully (like you do)
So loved this helpful tutorial!
Brillant video, I am currently learning this piece and this video's completely changed how I see and approach it, and I've come to appreciate it a lot more than I already had before. Thanks muchly.
Good luck! Thanks for watching!
Thank you so much .. a wonderful thought to approach this Nocturne as a duet
You have such an inspiring channel and Im glad I discovered it and now subscribed to it. You give such in-depth analysis on the pieces you share with such passion and beauty in your playing. Most of these pieces are beyond my capabilities but I appreciate listening to and learning about them. Thank you very much for sharing.
Dear Sean, thank you very much for your presence, subscription and comment. My content is the effect of the pandemic, I've started making my lectures in April last year and it became my way to overcome such a difficult time for artists. It became my medicine for mental break down and now I'm so happy that it turned out to be appreciated and important for many people. You're invited to watch all the episodes in which you can get to know all the piano works written by Chopin and published during his life (the whole series will be finished by the end of January 2022). Best wishes from Poland! Greg.
always loved this one
Brilliant ! I heard this for the first time 2 days ago - I just switched the radio on at random and there it was . I immediately knew it was either Chopin or someone writing in the style of Chopin . The program was a recreation of a concert he gave in Edinburgh in 1848 which included this Nocturne . Yesterday I downloaded and printed out the music , so this video is perfect - I would never have framed it as an opera so I am very grateful , I just love your interpretation . Your channel has a new subscriber !!
Thank you so much!!!
This nocturne is so criminally underplayed, along with op. 15 no. 3. This was the first piece I studied in college and I was quite disappointed I was given this because I didn't understand it well and it didn't sound like the chopin I'm used to. Over the time I worked on it it became one of my favorite pieces to play. I hope this piece becomes more known sometime.
❤🎹❤🎹❤🎹❤🎹❤🎹❤🎹❤🎹 I love YOUR insight into Chopin's music! It adds to my understanding of all music! 😁
Please do more of these analyses!
I did almost all Chopin pieces for piano!
You got it perfectly, I loved this nocturne as soon as I heard it . And I loved that you presented the idea of a duet and that i felt that no one else notice until i saw this video which i am high grateful to see
Thank you for watching! And I appreciate your comment!
I deeply love your thoughts and analysis on chopins work, I would like to see more of Beethoven, Mozart, Debussy, ravel, and many more composers. These type of videos makes me appreciate the work more.
Thanks!!! I wish I could make them! But now I have too many concerts!
Thank you so much for this great video! It helped me so much understanding this nocturne and it's intricacies.
Keep on making such great content :)
I'm happy it helped. But of course we should always look for more, more and more, deeper and deeper. Thank you!
love your vids man, keep up the great work!
Thank you for lifting the veil.
I keep wondering how to practice the right hand part from measure 52 to 54. How could you possibly play trills at the bottom while having a voice on top?
First learn trills only with the original fingering 1-2 which you are going to use later, than play trills with the right hand and upper melody with the left hand, after a week or so, play it with the right hand only but in a very slow tempo, try to count the trill to have it regular with the melody. And after week or more slowly increase your tempo.
Very nice analysis! In my personal opinion, I feel you digressed a bit dismissively on the ending of this nocturne, by defining it as an “orchestral ending”. I always found this ending to be one of the most solemn, emblematic and even mystical endings in piano literature. Most interpreters don’t give it too much importance. I personally feel that the last four bars are a sort of a sign of the cross that a catholic would do at the end of a prayer.
Ivo Pogorelich, controversial as usual, makes of the ending the most significant part of the entire composition, by dilating the tempo in a way that not even Einstein could have conceived🤣. I think he caught something in that finale that we all have missed!
Thank you! Yes..... I think you're right
For me is his best Nocturn, with the F sharp Novturne
The Fsharp major
Next: op 62 no 1! Can’t wait
Yes, me too!!! The closest Nocturne to my heart!!!!
52:50 Actually that is not B Major, that's C flat major (c flat - e flat - g flat) which makes it a major flat sixth chord in E flat major (modal mixture with e flat minor's sixth). Which is very cool, it feels a little deceptive.
It also makes sense because the two measures before it is E flat major (I), then it goes to parallel minor (i), then finally to c flat major (flat VI) and back to tonic (I)
no wait! actually it might be a german augmented sixth chord!! Yes. It has c flat - e flat - g flat - a natural, sounds like a secondary dominant seventh but isn't because it goes back to tonic.
Ik houd van jouw Pools accenten❤❤
Very inspiring. Thank you!
A little bit low in volume so easier to listen with headphones. And you should fix the title!
What's the problem with the title?
@@gregniemczuk ah sorry, has it changed? Now, it is correct.
Maybe with the title it's a problem with the automatic translation. In German UA-cam, the title is "Nocturne fis-moll Op. 48 Nr. 2. - Analyse - Vortrag von Greg Niemczuk". Well, it really doesn't matter that much.
@@Kompendium-tb1qz ohhh, yes. You're right! It's an automatic translation problem.
Greg, doesn’t your interpretation of this piece conflict with a consistent theme of your analysis that Chopin used the nocturnes as a reflection of his own personal feelings and his experiences? Who would be the woman, whose voice dominates the nocturne?
Don't you think that it can be only an artistic , idealistic dream of Chopin?
@@gregniemczuk I think it raises the question of whether his vision of the nocturne within his aggregate works changed over time (as your videos suggest) or whether he had a consistent vision.
My personal view is that his incredible affinity for the nocturne form reflected a belief that it was at night that individuals best reflect upon and articulate their deepest emotions. From an an early age Chopin was trying to write beyond his personal experiences. Candidly, that is why I find Opus 2 disappointing, as I believe he fails to capture the sexual power dynamic between Don Giovanni and Zerlina that Mozart understood so well. While I think his personal experiences naturally informed his vision, that is why I would resist the temptation to interpret the early nocturnes as a direct window into his personal feelings.
When I listen to the second B major nocturne, it seems to me far deeper than frustration in not being able to marry a distant love interest. The musical figure first appearing (with riten) in measure 7 seems less to me “we cannot be together” than “I do not love you anymore.”
This opus 55 no 2!???
Yes
🌷💖 💖🌷
Thanks for this great analysis. Personally, I love Ignaz Friedman's recording for me unsurpassable. Cortot, Horowitz, Pogorelich, Nehuaus, Moravec, Hungerford made great recordings too! Sorry !! I love and play this piece.
ua-cam.com/video/5IB_uUqP8iY/v-deo.html&ab_channel=ReginaldAbrahms (William Kapell) too!! Min: 3.30
I agree with you? Friedman is the best! Although he plays it faster but I love his duet. I prefer slower tempo because Chopin wrote it like this, but with pianists that you mention the tempo is not that important. They understand that this is a duet. Thank you for this enriching comment!
It appears to me when I listen, it is like a dialogue between a man and a woman. Thank you dear Greg.
Beautiful!
Sorry, Japanese title is wrong...
Can you write a good one on : gnpiano@aol.com?
This was translated automatically by Google. Thanks!
ショパンノックターン第16番 変ホ長調 作品55-2
@@中島百合子-g6o thank you but I need that for email because I can't copy from here!