[ENGLISH SUBTITLES] Hey everyone, here are the full subtitles to this video, 1/3 done by me and the rest in the replies by @Atomkfr! Enjoy! 00:00:59 Katsaris : The Nocturne was initially a popular french song, very few people actually know that, but I know that you know because we had spoken before. And on the instrumental side, it was used by the Irish pianist and composer, John Field, but it was Chopin who sublimated it. You know that Chopin was very very sensitive at night and especially at dusk, the polish call the moment between the day and night ‘Grey Hour’, and it was during these Grey Hour’s that he declared his love, where he asked Marie Wodzińska to marry him. Be so kind as to replay the beginning for me if you would. 00:01:35 [She plays] Thank you. So you know, in this nocturne, we have a perfect example, on the instrumental side, of the Bel Canto. It’s very very important and Chopin always says you should sing with your fingers, so even when you play ‘piano’, you should press down a bit more maybe, try to press down a bit more with the right hand, so it can ring a bit more. - [She plays] - That’s it, very good. 00:02:10 And there is a certain way to practice this Nocturne that Chopin recommended particularly. He asked that we practice first the left hand; with both hands. In other words, to ring the 2nd and 3rd note of each group of triplets, like a guitar choral. [He plays] And it’s here that we realise that this nocturne is a serenade, truly a serenade that’s melancholic, you understand. Try and practice it a bit if you would, with 2 hands. (The left hand) - [She plays] - Think about a guitar choral. 00:02:58 Very good, thank you. Now do it only with the left hand, and add the singing tone, making the right hand ring a little more than earlier. [She plays] 00:03:18 Watch out. I’m stopping you. Excuse me. This little phrase, you cut it. And it destroyed the phrase. Here. [He shows her] - You should go until the end, without slowing down near the end... [She tries again] - No, not exactly, think of a singer... [She tries once more] - No excuse me, start it a little more louder... think of a violin bow, [He hums the melody] - - [She plays still incorrectly] - No that’s not it, excuse me. When you start the C - [He plays] - the 1st notes (play it) a little bit more pronounced - [She plays better but still wrong] - Voilà, it’s close to perfect, I’ll stop you. It’s almost perfect, between the C at the bottom and the C at the top, you shouldn’t stop, you should continue; like this. - [He plays it] ... - [She tries again] - Again, a bit more, a little more - [She still plays it wrong] - Wait, you need to into the habit/get used to doing this, it’s like a lace. (Cest comme une dentelle (French expression)) - [He plays] - Accelerate a bit near the end, the end of the phrase. - [She plays, still almost getting there]. - It’s almost there, continue... [She plays] 00:05:08 Ok, I’ll stop you. I’ll stop you because Chopin indicated, in this phrase - [He plays briefly] - that goes until E, you have 2 comma’s. You must always follow the rules of the declamation. So you have, the 1st section of the phrase - [He plays] - 2nd section - [He plays] - 3rd section. [He plays] - So you have to play it like this : - [He plays it all] - You get what I mean? Think about the two commas. - [She plays] 00:05:46 And without slowing down, without slowing down at the end. Retry it if you would - [She retries] - That’s it. Magali, don’t slow down at the end, don’t do this - [He plays] - No - [He plays it] - it goes. - [She plays correctly] - That’s it very good, now we are going to practice it by exaggerating a little bit, exaggerate it by doing this - [He plays exaggerated] - stop a bit... - [He plays] - stop a little bit... - [He plays] to get used to it. - [She plays, with his directions so she can get used to playing with the little pauses] - Now do it from the start to end - [She plays] - Voilà! It’s almost there, you could even raise your hand in between the commas, isn’t it? - [He plays] - I exaggerated a bit on purpose - [She plays] - That’s it! Continue... - [She plays]. 00:07:02 Stop if you would please. That’s very good. So now we are at the first variation; and you should know, you are not obligated to do it however, it was a student of Chopin that brought it up. Chopin, it seemed, would’ve preached, for the first variation, to stay in the tempo more allegreto, like at the start, and not in andante. And after in the 2nd variation, that comes in the 13th measure, play andante, and in the 3rd variation, measure 21 etc... play adagio, more pathétique. But you are not obligated to do this, it’s an option I’m giving you, I would like your personality to be left at ease, it’s up to you to choose. 00:07:41 So, we could do it in this way. The 1st one, the theme. A bit more fast. - [He plays] - The first variation, the same thing - [He plays the 1st variation, Allegreto] - 2nd Variation - [He plays the 2nd variation, Andante] - And the 3rd variation later - [He plays the 3rd variation, Adagio, more pathétique] - It’s up to you to decide. 00:08:13 So, in this 1st variation, you have a ‘Tre’ absolutely sublime. In which, you should, a little bit more, accent the D flat, the F and the A flat. - [He plays] - You always have a singer who is trying to reach something! Exaggerate in your practice, so then after you can come back down. Exaggerate the accents a little bit. Practice it if you would. - [She plays] 00:08:42 Thank you. Thank you. A little detail. The top, when you get to D flat. Chopin liked a lot; you are not obligated to do this I’m telling you an indicative title, but Chopin liked to repeat the 4th finger on the D flat and the C by sliding it, like this. - [He shows her] 00:09:07 And at the end of this phrase, you could do it one time like you did, with a little crescendo - [He plays] - and the 2nd time, in the variation that follows you could do it like this - [He plays] - Try the both ways - [She plays] 00:09:31 Excuse me. As far as I’m concerned, I don’t really like this pause at the end of the phrase. You destroy, sorry to say, but the phrase a little bit when you do this. - [He shows her what she did] - (They speak over each other briefly with her acknowledging she hesitates between the crescendo and him saying don’t do it so systematically, it’s a little bit mièvre ( Mièvre in this context meaning too weak) - It would be better to continue the momentum - [He plays] - Even if you do a crescendo, you could do it like this - [He plays with the crescendo] - you could that that if you want, or if you do a little pause, just barely. It should be barely noticeable. - [She plays] 00:10:06 Good, it was perfect except that we need more interruption between the little groups. The little groups. - [He plays] - There should be more quivering. She’s trying to... she declaring herself, she’s trying to obtain something, she lets herself communicate. - [She plays] - Voilà, Like that! Continue... - [She plays]
[ENGLISH SUBTITLES] Hey guys, I noticed somebody wrote a translation for the first part, and since it's one of my favorite masterclass, it gave me the motivation to do the rest. I hope you'll enjoy it. If you have any comments or questions, please leave a comment! 00:10:42 One important thing, stop if you will, I will give you an example, because here we have to talk about rubato. Rubato is an Italian term, as you know, which means "stolen time". Why "stolen" ?, it's kind of a larceny (a robbery) in terms of time (or beat). It is a compensatory system that allows to lengthen a note or a group of notes, or to shorten them in relation to the next one |to the notes that come after| by stealing from the next note’s beat. That is to say that, if we do it here like this [he plays], if we accelerate a little bit (so we shorten it) [he plays]. And then here we lengthen [he plays], even if we finish the sentence like this. 00:11:30 So this is the typical rubato of Chopin, which Chopin did not invent, because concerning the rubato: you have an Italian theorist from Bologna called Tosi, who in 1723 spoke about it in his Treatise on the Bel Canto. And the Bel Canto's rubato existed long before Chopin, even Mozart has used it. You have two types of rubato: type A and type B. So type A, it's a total freedom in the singing with a bass |an accompaniment| unperturbed. I think Liszt used to say that it's like a tree trunk that doesn't move, and the leaves that quiver. 00:12:05 So we're going to try the two types of rubato, type A first: so the bass that doesn't move, which is the conductor [he plays] excessively like this [he keeps playing]. The bass barely moved, hardly at all. 00:12:23 And now we're going to do it, with a more fluctuating bass, meaning that the whole building moves (TN it’s not a particular saying, just his way of illustrating the notion), and that's rubato type B [he plays]. 00:12:39 So rubato is something that can't be taught easily, or be learned easily, you have to feel it, right ? It depends on the rules of declamation, your personal intuition and so on. But Chopin preferred the type A rubato, so you shouldn't dwell too much on some random tempo fluctuations. Be nice to do it [coughs]. So type A, without moving the left hand (TN: he means by keeping the beat at the left hand) [she plays]. 00:13:04 Good. Do it again, but I want more freedom in the right hand. So I'll clap to the beat with you [claps to the beat on the piano] Wait! 3, 1, 2, 3 [she plays]. No.. 00:13:18 Um, the right hand needs to, I know it's very difficult to do, very very difficult to do. The right hand need to be more free, meaning that you have to allow yourself to accelerate your right hand, and slow down, even if the notes don't come together (TN: when your don't press the notes at the same exact time), because you'll have a certain moment when the notes won't be together [he plays] did you see? But the left hand didn't move. Go ahead [she plays]. Speed up the right hand! That's about it. You got it [x2] 00:13:50 Now you're going to do a type B rubato, moving a bit more as you feel it, with more freedom. [she plays] There you go. So obviously it's much easier to do, isn't it ? Continue please [she plays the following part] 00:14:11 No! Careful(x3) The first note of the small group must be louder than the second: the G [plays and sings the notes] more than the B. [she resumes her playing]. Very good. 00:14:30 Wait a second: this doesn't prevent you when it comes back later to change the phrasing a little bit to vary, because you mustn't forget that Chopin, when he played the same piece twice or several times, he changed very often. You shouldn't do random things either. So when you're here [he starts playing]: you can do it like we did now [he sings: ti da dam], or later you can try [taa dam]. You can have fun with a little modification but be careful it's very dangerous. Try it: [she plays] [murmurs: yes, ok, you can do it like this] 00:15:12 Be careful. Here we have detached notes. And to change from the previous similar bar |bar 4| you can do it detached as we said and piano [he plays]. We have two things here: you have detached notes [he sings A-a-a-a-a] even if you press the pedal, it will give a different sound, a little more emphasized, even if you do it more piano than in bar 4. And second thing: you have here what is called a "cercar della nota", this little note, which softens the transition between [he plays the two notes] the A flat and the C. This little note, which is a repetition of this A flat, which is softening, and which |in principle| should be played on the beat; according to Chopin's wishes. So [he plays]. Which does not prevent you, when it comes back later, from changing it. [she plays] Here you go! 00:16:31 Thank you. So, now it's the part with the ritornello, it needs to be a little bit more caressing, a little bit softer, right? When you get here, it needs a different color. So you're done with that (TN: meaning "you finished the previous phrase") [plays previous phrase and then next one]. More intimate, play that a little more intimate.But do the phrase from before, for the composition [she plays the previous phrase and continues]. Be careful, give a little more at the beginning of the phrase, to allow for the pianissimo afterwards [she starts playing again]. More singing please [she continues playing] 0017:26 There, it's almost perfect. So here we have something called the portando [he quickly asks her to take her foot off the pedal]. We have what is called the portando, which should not be confused with the portamento. We'll talk about portamento later. The portando is what, in Bel Canto, we call the parlando: you have a succession of rather slow notes that are a little bit separated, and the first ones must always be a little heavier than the following ones, that is to say [he plays and sings ta-da-da]. They should not be equal, beware! [she plays the same passage] 00:18:10 Almost perfect, a little bit more (heavier) on the first one [she plays again] Careful, caress the piano, like this, look [He shows her with repeating the note]. A bit heavier at the beginning, and lighten it towards the end. I thank you, at the end of the sentence, speed up a little bit [he sings ta-da-da-da] and not [sings ta-da-da-da], no that's not right [he plays the passage on the piano]. Stretch it out a little towards the end [she plays]. 00:18:55 There, you can stretch it slightly. After the little acceleration, between the last two E's, you have to open up a little bit, it's like a sigh [he plays and sighs to picture the passage]. [then she starts playing the passage] Always sing. |he comments: "Well, for example"| [she continues playing]. 00:19:22 Not too hard, be careful, don't punch the piano. With weight, come from a bit higher, even though you might slip on the note. You can even put two or three fingers if you want, at the same time, [he shows his hand and how to position his fingers by pressing the key] to get more weight, more sound, like this, 4-5 at the same time Try the 4th and 5th finger at the same time [she plays] There you go. 00:19:53 Thank you, Magali (TN: the woman's first name). We found on the scores of Chopin's students, some kind of lines, that separate the seventh note of this measure and the next one (TN: he speaks of the 6th note and then corrects himself by saying the 7th). That is, at the end of the seventh note, when you get to B flat [he plays]. You have to breathe a little bit, release the pedal. And it's a new phrase: besides, it's indicated by Chopin, you have a phrase there [he plays]: New phrase. So stop a little bit between the two, breathe a little bit [she plays].
00:20:35 A little more please! [she plays the same passage again] Crescendo! (x2) [he plays] Go ahead [she plays] Very good! [she continues playing] 00:21:18 Thank you! So on the trill, you can allow yourself a small variation: you can play an E-natural. Chopin wanted to do it, he had asked some of his students to do it [he plays]. That softens a little bit, doesn't it, it's a transition. On the beat, always! [she plays] 00:21:58 Well, I'll stop you right there. So here we have an arabesque, which is typical of the Bel Canto, but there is a difference between this type of arabesque with Chopin and the one from the Bel Canto, because in the Bel Canto, the singers like to linger on these arabesques. But with Chopin, you have to finish the arabesque like, you know, think of a little stream that gets lost, that merges into a river. You have to speed up towards the end, and not give any importance to the last notes: like this [he plays and then sings the melody] It has to go away, it has to merge into the thought of this phrase. [she plays] 00:22:44 Thank you, it's almost perfect. So the first notes more separated, like this [he plays] And I point out that Chopin wanted a fingering that is very difficult to do but worth it, because you have more sensitivity with the 4th and 5th finger. he plays] 5/ 4/ 5/ 5/ 4/ 5/ 4 [she plays] There you go, very good, without slowing down at the end. Continue [she continues playing] 00:23:28 No no, be careful, you have to sing more in this part. Don't forget that we have a portando here: a little bit stronger (heavier) at the beginning and lighter towards the end. [he plays and then sings the melody] [she plays the same passage] Without slowing down towards the end. [she continues to play] 00:24:00 Careful, don't slow down because, listen to me, because you're destroying the end of the sentence [he plays] You do that, No! [he plays again] Turn it off (TN: meaning fade or diminish), and then play the next one. Or just barely.[she plays] There, separated. 00:24:26 So here to change, from the same thing that was there before, you can make a diminuendo, if you want. It's up to you. And you can even have fun, if you wish, by doing a countermelody [he plays] Well, but that's something that's a bit out of the scope of the lesson. But Chopin, as I told you before, never played the same way twice. Continue. [she plays] 00:25:15 [he sings the melody: ta-dam ta-dam] That's how it is. Always, like bowing (TN: like a violin would play this with a bow). [she's still playing] 00:25:35 Be careful. We have here this little improvised ornament typical of the Bel Canto as we had earlier in bar 16. You must not slow down at the end of the phrase, be careful [he plays the first phrase of the passage] and then, a new phrase, which starts more slowly, and ends more quickly [he plays the second phrase of this passage]. You must not give too much importance to the last notes of these ornaments. [she plays] 00:26:32 Thank you. Watch for the pedal, when you get up there. He plays the passage] You can either include the E flat in the pedal. Actually you have three ways of doing it: either like this [he plays] by including it, OR don't include it [he plays without including it], OR do it on the beat [he plays] It's up to you, I'd like you to choose for yourself. [she plays] |he comments: "For example"| 00:27:13 So there, Chopin wanted 5-4-5-4 [he starts playing] 5-4-5-5-4-4-5-5-4-3, because the weak fingers are more sensitive (TN: Chopin identified weak and strong fingers: 1>5>2>3>4) [she plays] Thank you, do this whole section again if you will. A little more diaphanous, a little more transparent, and while feeling, while playing as you feel it, don't drag it out too much either. [she plays] |while she plays, he comments: Keep moving, Go on, Very good, continue| (TN: he says to keep moving as he asked her to not drag to much) [she continues playing] 00:28:10 Beginning of exaltation: more exalted, go ahead. Attention, no no no, the phrase is indicated by Chopin [he plays and then sings the melody] [she plays the same passage] No no no, you must restart here [she plays this passage again] Yes! A little faster as well. There is always a momentum (impulse) in these phrases. There you go [she continues playing] 00:28:53 More lyrical. Go on, louder. More and more passionate. Accelerate. Louder. 00:29:12 So I'll stop you right there, it was very good, but let yourself go. This is ecstasy, exalted passion. And when you get up there, to the cadenza: the first notes must be barely perceptible [he plays the three notes] They must be lost in the fortissimo [he plays with the octave and the preceding arpeggio] It must begin as if it came from nowhere. So you make a nice crescendo and then a diminuendo. The cadence please, from there [he points at the score] [she plays] 00:29:53 You should barely hear them [she continues playing]. Slow down. Thank you. To work on them, you can do it like this: [he plays the exercise on the piano] and then [he plays another exercise on the piano] and then [he plays another exercise] and then you can play four notes [he plays the exercise with four notes] and then [he plays another exercise] Okay? To make them more equal and pronounced. Continue please. Do it again instead [she plays]. 00:30:33 Start more slowly. Magali! Play the beginning louder (TN the octave + arpeggio), and start slower [he plays] Let yourself go (TN he's talking about the part that comes before) . Barely (TN: barely noticeable, talking about the beginning of the 4 repeated notes). And then speed up [she plays] |he comments at the same time: Go slowly, barely noticeable, Speed up and increase the sound, there you go, slow down, decrease the sound, gradually relax, more and more caressing| And now it's the dreamy mystery of the conclusion [she plays the conclusion] |he comments: Misty-like, keep the pedal, you're in another world, evanescent, it must disappear (fade)|. Here you go. Thank you Miss [stands up and shakes her hand].
J'apprends beaucoup d'œuvres de Chopin et j'améliore mon français avec cette video. Grace à mon ami Emre qui a trouvè cette video et puisqu'il ne comprends pas la français, je lui traduis cette video. Malgrè je ne joue pas le piano, j'ai beaucoup appris vers du piano, façons de jouer et sens. Bien que cette video eût ètè filmè 1993, maintenant, ceux qui sont regarder pouvoir être bènèficer de cette video toujours. Merci bcp.
Such an amazing teacher and when he touches the piano I can't listened to his students ,he is to good and he sounds beautiful .i only want him to play ,he is a virtuoso and very talented one ,love him !!!
An excellent and patient Mentor passing on his musical talents and legacy to his student. Viewers of musical interests would pick up TECHNIQUES and EXPRESSIONS from this piece. I have learnt a lot from this piece though i did not understand French. Thank you to Mr Katsari, the mentor, and the pianist to demonstrate.
Étant autodidacte moi même cette masterclass me permets de comprendre comment mieux jouer cette musique magnifique, qui est la raison pour laquelle j’ai commencé d’ailleurs! Merci monsieur Katsaris.
I like how the student finishes her last notes and lifts her hands up elegantly every time the professor asks her to stop. It feels like she's not interrupted abruptly but just completed a stanza of music.
I have learnt so much from this video, and yet, I can't understand French. I am learning this piece and this is a wonderful tutorial on it. I wish it had English words.... Thank you so much for posting.
Only in Japan are such cultured things aired on regular ol' TV. The most avant garde artists and virtuosos even to this day always want to go tour and perform in Japan before any other place. They come to the USA the last because its just plain dumbfuckery running rampant in our nation here. Japan on the other hand popularizes and deeply appreciates virtuosity and musicians that push the limits and are on the cutting edge. They don't like things dumbed down, they appreciate complexity and skill at the general populace level.
I didn't watched the video yet when I saw it's not in english and with japanese subtitles. I find the comment with english translation and start reading but finally start watching the video. I realise it's in french, and I'm french 😂
Why would anyone take a dead language without learning any of the major languages in classical music world(aside music itself xD), which are German, Italian, English and French
[ENGLISH SUBTITLES] Hey everyone, here are the full subtitles to this video, 1/3 done by me and the rest in the replies by @Atomkfr! Enjoy!
00:00:59
Katsaris : The Nocturne was initially a popular french song, very few people actually know that, but I know that you know because we had spoken before. And on the instrumental side, it was used by the Irish pianist and composer, John Field, but it was Chopin who sublimated it. You know that Chopin was very very sensitive at night and especially at dusk, the polish call the moment between the day and night ‘Grey Hour’, and it was during these Grey Hour’s that he declared his love, where he asked Marie Wodzińska to marry him. Be so kind as to replay the beginning for me if you would.
00:01:35
[She plays] Thank you. So you know, in this nocturne, we have a perfect example, on the instrumental side, of the Bel Canto. It’s very very important and Chopin always says you should sing with your fingers, so even when you play ‘piano’, you should press down a bit more maybe, try to press down a bit more with the right hand, so it can ring a bit more. - [She plays] - That’s it, very good.
00:02:10
And there is a certain way to practice this Nocturne that Chopin recommended particularly. He asked that we practice first the left hand; with both hands. In other words, to ring the 2nd and 3rd note of each group of triplets, like a guitar choral. [He plays]
And it’s here that we realise that this nocturne is a serenade, truly a serenade that’s melancholic, you understand. Try and practice it a bit if you would, with 2 hands. (The left hand) - [She plays] - Think about a guitar choral.
00:02:58
Very good, thank you. Now do it only with the left hand, and add the singing tone, making the right hand ring a little more than earlier. [She plays]
00:03:18
Watch out. I’m stopping you. Excuse me. This little phrase, you cut it. And it destroyed the phrase. Here. [He shows her] - You should go until the end, without slowing down near the end... [She tries again] - No, not exactly, think of a singer... [She tries once more] - No excuse me, start it a little more louder... think of a violin bow, [He hums the melody] - - [She plays still incorrectly] - No that’s not it, excuse me. When you start the C - [He plays] - the 1st notes (play it) a little bit more pronounced - [She plays better but still wrong] - Voilà, it’s close to perfect, I’ll stop you. It’s almost perfect, between the C at the bottom and the C at the top, you shouldn’t stop, you should continue; like this. - [He plays it] ... - [She tries again] - Again, a bit more, a little more - [She still plays it wrong] - Wait, you need to into the habit/get used to doing this, it’s like a lace. (Cest comme une dentelle (French expression)) - [He plays] - Accelerate a bit near the end, the end of the phrase. - [She plays, still almost getting there]. - It’s almost there, continue... [She plays]
00:05:08
Ok, I’ll stop you. I’ll stop you because Chopin indicated, in this phrase - [He plays briefly] - that goes until E, you have 2 comma’s. You must always follow the rules of the declamation. So you have, the 1st section of the phrase - [He plays] - 2nd section - [He plays] - 3rd section. [He plays] - So you have to play it like this : - [He plays it all] - You get what I mean? Think about the two commas. - [She plays]
00:05:46
And without slowing down, without slowing down at the end. Retry it if you would
- [She retries] - That’s it. Magali, don’t slow down at the end, don’t do this - [He plays] - No - [He plays it] - it goes. - [She plays correctly] - That’s it very good, now we are going to practice it by exaggerating a little bit, exaggerate it by doing this - [He plays exaggerated] - stop a bit... - [He plays] - stop a little bit... - [He plays] to get used to it. - [She plays, with his directions so she can get used to playing with the little pauses] - Now do it from the start to end - [She plays] - Voilà! It’s almost there, you could even raise your hand in between the commas, isn’t it? - [He plays] - I exaggerated a bit on purpose - [She plays] - That’s it! Continue... - [She plays].
00:07:02
Stop if you would please. That’s very good. So now we are at the first variation; and you should know, you are not obligated to do it however, it was a student of Chopin that brought it up. Chopin, it seemed, would’ve preached, for the first variation, to stay in the tempo more allegreto, like at the start, and not in andante. And after in the 2nd variation, that comes in the 13th measure, play andante, and in the 3rd variation, measure 21 etc... play adagio, more pathétique. But you are not obligated to do this, it’s an option I’m giving you, I would like your personality to be left at ease, it’s up to you to choose.
00:07:41
So, we could do it in this way. The 1st one, the theme. A bit more fast. - [He plays] - The first variation, the same thing - [He plays the 1st variation, Allegreto] - 2nd Variation - [He plays the 2nd variation, Andante] - And the 3rd variation later - [He plays the 3rd variation, Adagio, more pathétique] - It’s up to you to decide.
00:08:13
So, in this 1st variation, you have a ‘Tre’ absolutely sublime. In which, you should, a little bit more, accent the D flat, the F and the A flat. - [He plays] - You always have a singer who is trying to reach something! Exaggerate in your practice, so then after you can come back down. Exaggerate the accents a little bit. Practice it if you would. - [She plays]
00:08:42
Thank you. Thank you. A little detail. The top, when you get to D flat. Chopin liked a lot; you are not obligated to do this I’m telling you an indicative title, but Chopin liked to repeat the 4th finger on the D flat and the C by sliding it, like this. - [He shows her]
00:09:07
And at the end of this phrase, you could do it one time like you did, with a little crescendo - [He plays] - and the 2nd time, in the variation that follows you could do it like this - [He plays] - Try the both ways - [She plays]
00:09:31
Excuse me. As far as I’m concerned, I don’t really like this pause at the end of the phrase. You destroy, sorry to say, but the phrase a little bit when you do this. - [He shows her what she did] - (They speak over each other briefly with her acknowledging she hesitates between the crescendo and him saying don’t do it so systematically, it’s a little bit mièvre ( Mièvre in this context meaning too weak) - It would be better to continue the momentum - [He plays] - Even if you do a crescendo, you could do it like this - [He plays with the crescendo] - you could that that if you want, or if you do a little pause, just barely. It should be barely noticeable. - [She plays]
00:10:06
Good, it was perfect except that we need more interruption between the little groups. The little groups. - [He plays] - There should be more quivering. She’s trying to... she declaring herself, she’s trying to obtain something, she lets herself communicate. - [She plays] - Voilà, Like that! Continue... - [She plays]
thank you so much for this work!
i am brazilian and i am studying this piece, and this subtitles really helped me
Thank you very much for eng sub.ㅠㅡㅠ
would be great if you could translate the rest, but 10 mins is already a huge amount, so thanks a lot
[ENGLISH SUBTITLES] Hey guys, I noticed somebody wrote a translation for the first part, and since it's one of my favorite masterclass, it gave me the motivation to do the rest. I hope you'll enjoy it. If you have any comments or questions, please leave a comment!
00:10:42
One important thing, stop if you will, I will give you an example, because here we have to talk about rubato. Rubato is an Italian term, as you know, which means "stolen time". Why "stolen" ?, it's kind of a larceny (a robbery) in terms of time (or beat). It is a compensatory system that allows to lengthen a note or a group of notes, or to shorten them in relation to the next one |to the notes that come after| by stealing from the next note’s beat.
That is to say that, if we do it here like this [he plays], if we accelerate a little bit (so we shorten it) [he plays]. And then here we lengthen [he plays], even if we finish the sentence like this.
00:11:30
So this is the typical rubato of Chopin, which Chopin did not invent, because concerning the rubato: you have an Italian theorist from Bologna called Tosi, who in 1723 spoke about it in his Treatise on the Bel Canto. And the Bel Canto's rubato existed long before Chopin, even Mozart has used it. You have two types of rubato: type A and type B. So type A, it's a total freedom in the singing with a bass |an accompaniment| unperturbed. I think Liszt used to say that it's like a tree trunk that doesn't move, and the leaves that quiver.
00:12:05
So we're going to try the two types of rubato, type A first: so the bass that doesn't move, which is the conductor [he plays] excessively like this [he keeps playing]. The bass barely moved, hardly at all.
00:12:23
And now we're going to do it, with a more fluctuating bass, meaning that the whole building moves (TN it’s not a particular saying, just his way of illustrating the notion), and that's rubato type B [he plays].
00:12:39
So rubato is something that can't be taught easily, or be learned easily, you have to feel it, right ? It depends on the rules of declamation, your personal intuition and so on. But Chopin preferred the type A rubato, so you shouldn't dwell too much on some random tempo fluctuations. Be nice to do it [coughs]. So type A, without moving the left hand (TN: he means by keeping the beat at the left hand) [she plays].
00:13:04
Good. Do it again, but I want more freedom in the right hand. So I'll clap to the beat with you [claps to the beat on the piano] Wait! 3, 1, 2, 3 [she plays]. No..
00:13:18
Um, the right hand needs to, I know it's very difficult to do, very very difficult to do. The right hand need to be more free, meaning that you have to allow yourself to accelerate your right hand, and slow down, even if the notes don't come together (TN: when your don't press the notes at the same exact time), because you'll have a certain moment when the notes won't be together [he plays] did you see? But the left hand didn't move. Go ahead [she plays]. Speed up the right hand! That's about it. You got it [x2]
00:13:50
Now you're going to do a type B rubato, moving a bit more as you feel it, with more freedom. [she plays] There you go. So obviously it's much easier to do, isn't it ? Continue please [she plays the following part]
00:14:11
No! Careful(x3) The first note of the small group must be louder than the second: the G [plays and sings the notes] more than the B. [she resumes her playing]. Very good.
00:14:30
Wait a second: this doesn't prevent you when it comes back later to change the phrasing a little bit to vary, because you mustn't forget that Chopin, when he played the same piece twice or several times, he changed very often. You shouldn't do random things either. So when you're here [he starts playing]: you can do it like we did now [he sings: ti da dam], or later you can try [taa dam]. You can have fun with a little modification but be careful it's very dangerous. Try it: [she plays] [murmurs: yes, ok, you can do it like this]
00:15:12
Be careful. Here we have detached notes. And to change from the previous similar bar |bar 4| you can do it detached as we said and piano [he plays]. We have two things here: you have detached notes [he sings A-a-a-a-a] even if you press the pedal, it will give a different sound, a little more emphasized, even if you do it more piano than in bar 4. And second thing: you have here what is called a "cercar della nota", this little note, which softens the transition between [he plays the two notes] the A flat and the C. This little note, which is a repetition of this A flat, which is softening, and which |in principle| should be played on the beat; according to Chopin's wishes. So [he plays]. Which does not prevent you, when it comes back later, from changing it. [she plays] Here you go!
00:16:31
Thank you. So, now it's the part with the ritornello, it needs to be a little bit more caressing, a little bit softer, right? When you get here, it needs a different color. So you're done with that (TN: meaning "you finished the previous phrase") [plays previous phrase and then next one]. More intimate, play that a little more intimate.But do the phrase from before, for the composition [she plays the previous phrase and continues]. Be careful, give a little more at the beginning of the phrase, to allow for the pianissimo afterwards [she starts playing again]. More singing please [she continues playing]
0017:26
There, it's almost perfect. So here we have something called the portando [he quickly asks her to take her foot off the pedal]. We have what is called the portando, which should not be confused with the portamento. We'll talk about portamento later. The portando is what, in Bel Canto, we call the parlando: you have a succession of rather slow notes that are a little bit separated, and the first ones must always be a little heavier than the following ones, that is to say [he plays and sings ta-da-da]. They should not be equal, beware! [she plays the same passage]
00:18:10
Almost perfect, a little bit more (heavier) on the first one [she plays again] Careful, caress the piano, like this, look [He shows her with repeating the note]. A bit heavier at the beginning, and lighten it towards the end. I thank you, at the end of the sentence, speed up a little bit [he sings ta-da-da-da] and not [sings ta-da-da-da], no that's not right [he plays the passage on the piano]. Stretch it out a little towards the end [she plays].
00:18:55
There, you can stretch it slightly. After the little acceleration, between the last two E's, you have to open up a little bit, it's like a sigh [he plays and sighs to picture the passage]. [then she starts playing the passage] Always sing. |he comments: "Well, for example"| [she continues playing].
00:19:22
Not too hard, be careful, don't punch the piano. With weight, come from a bit higher, even though you might slip on the note. You can even put two or three fingers if you want, at the same time, [he shows his hand and how to position his fingers by pressing the key] to get more weight, more sound, like this, 4-5 at the same time Try the 4th and 5th finger at the same time [she plays] There you go.
00:19:53
Thank you, Magali (TN: the woman's first name). We found on the scores of Chopin's students, some kind of lines, that separate the seventh note of this measure and the next one (TN: he speaks of the 6th note and then corrects himself by saying the 7th). That is, at the end of the seventh note, when you get to B flat [he plays]. You have to breathe a little bit, release the pedal. And it's a new phrase: besides, it's indicated by Chopin, you have a phrase there [he plays]: New phrase. So stop a little bit between the two, breathe a little bit [she plays].
00:20:35
A little more please! [she plays the same passage again] Crescendo! (x2) [he plays] Go ahead [she plays] Very good! [she continues playing]
00:21:18
Thank you! So on the trill, you can allow yourself a small variation: you can play an E-natural. Chopin wanted to do it, he had asked some of his students to do it [he plays]. That softens a little bit, doesn't it, it's a transition. On the beat, always! [she plays]
00:21:58
Well, I'll stop you right there. So here we have an arabesque, which is typical of the Bel Canto, but there is a difference between this type of arabesque with Chopin and the one from the Bel Canto, because in the Bel Canto, the singers like to linger on these arabesques. But with Chopin, you have to finish the arabesque like, you know, think of a little stream that gets lost, that merges into a river. You have to speed up towards the end, and not give any importance to the last notes: like this [he plays and then sings the melody] It has to go away, it has to merge into the thought of this phrase. [she plays]
00:22:44
Thank you, it's almost perfect. So the first notes more separated, like this [he plays] And I point out that Chopin wanted a fingering that is very difficult to do but worth it, because you have more sensitivity with the 4th and 5th finger. he plays] 5/ 4/ 5/ 5/ 4/ 5/ 4 [she plays] There you go, very good, without slowing down at the end. Continue [she continues playing]
00:23:28
No no, be careful, you have to sing more in this part. Don't forget that we have a portando here: a little bit stronger (heavier) at the beginning and lighter towards the end. [he plays and then sings the melody] [she plays the same passage] Without slowing down towards the end. [she continues to play]
00:24:00
Careful, don't slow down because, listen to me, because you're destroying the end of the sentence [he plays] You do that, No! [he plays again] Turn it off (TN: meaning fade or diminish), and then play the next one. Or just barely.[she plays] There, separated.
00:24:26
So here to change, from the same thing that was there before, you can make a diminuendo, if you want. It's up to you. And you can even have fun, if you wish, by doing a countermelody [he plays] Well, but that's something that's a bit out of the scope of the lesson. But Chopin, as I told you before, never played the same way twice. Continue. [she plays]
00:25:15
[he sings the melody: ta-dam ta-dam] That's how it is. Always, like bowing (TN: like a violin would play this with a bow). [she's still playing]
00:25:35
Be careful. We have here this little improvised ornament typical of the Bel Canto as we had earlier in bar 16. You must not slow down at the end of the phrase, be careful [he plays the first phrase of the passage] and then, a new phrase, which starts more slowly, and ends more quickly [he plays the second phrase of this passage]. You must not give too much importance to the last notes of these ornaments. [she plays]
00:26:32
Thank you. Watch for the pedal, when you get up there. He plays the passage] You can either include the E flat in the pedal. Actually you have three ways of doing it: either like this [he plays] by including it, OR don't include it [he plays without including it], OR do it on the beat [he plays] It's up to you, I'd like you to choose for yourself. [she plays] |he comments: "For example"|
00:27:13
So there, Chopin wanted 5-4-5-4 [he starts playing] 5-4-5-5-4-4-5-5-4-3, because the weak fingers are more sensitive (TN: Chopin identified weak and strong fingers: 1>5>2>3>4) [she plays] Thank you, do this whole section again if you will. A little more diaphanous, a little more transparent, and while feeling, while playing as you feel it, don't drag it out too much either. [she plays] |while she plays, he comments: Keep moving, Go on, Very good, continue| (TN: he says to keep moving as he asked her to not drag to much) [she continues playing]
00:28:10
Beginning of exaltation: more exalted, go ahead. Attention, no no no, the phrase is indicated by Chopin [he plays and then sings the melody] [she plays the same passage] No no no, you must restart here [she plays this passage again] Yes! A little faster as well. There is always a momentum (impulse) in these phrases. There you go [she continues playing]
00:28:53
More lyrical. Go on, louder. More and more passionate. Accelerate. Louder.
00:29:12
So I'll stop you right there, it was very good, but let yourself go. This is ecstasy, exalted passion. And when you get up there, to the cadenza: the first notes must be barely perceptible [he plays the three notes] They must be lost in the fortissimo [he plays with the octave and the preceding arpeggio] It must begin as if it came from nowhere. So you make a nice crescendo and then a diminuendo. The cadence please, from there [he points at the score] [she plays]
00:29:53
You should barely hear them [she continues playing]. Slow down. Thank you. To work on them, you can do it like this: [he plays the exercise on the piano] and then [he plays another exercise on the piano] and then [he plays another exercise] and then you can play four notes [he plays the exercise with four notes] and then [he plays another exercise] Okay? To make them more equal and pronounced. Continue please. Do it again instead [she plays].
00:30:33
Start more slowly. Magali! Play the beginning louder (TN the octave + arpeggio), and start slower [he plays] Let yourself go (TN he's talking about the part that comes before) . Barely (TN: barely noticeable, talking about the beginning of the 4 repeated notes). And then speed up [she plays] |he comments at the same time: Go slowly, barely noticeable, Speed up and increase the sound, there you go, slow down, decrease the sound, gradually relax, more and more caressing| And now it's the dreamy mystery of the conclusion [she plays the conclusion] |he comments: Misty-like, keep the pedal, you're in another world, evanescent, it must disappear (fade)|. Here you go.
Thank you Miss [stands up and shakes her hand].
J'apprends beaucoup d'œuvres de Chopin et j'améliore mon français avec cette video. Grace à mon ami Emre qui a trouvè cette video et puisqu'il ne comprends pas la français, je lui traduis cette video. Malgrè je ne joue pas le piano, j'ai beaucoup appris vers du piano, façons de jouer et sens. Bien que cette video eût ètè filmè 1993, maintenant, ceux qui sont regarder pouvoir être bènèficer de cette video toujours. Merci bcp.
Monsieur Cyprien vous êtes un être exceptionnel et quel plaisir sublime de vous écouter car vous nous emportez.
A lesson of perfection and intellectual education of a musical talent. What a priceless combination !!!!!
Such an amazing teacher and when he touches the piano I can't listened to his students ,he is to good and he sounds beautiful .i only want him to play ,he is a virtuoso and very talented one ,love him !!!
An excellent and patient Mentor passing on his musical talents and legacy to his student. Viewers of musical interests would pick up TECHNIQUES and EXPRESSIONS from this piece. I have learnt a lot from this piece though i did not understand French.
Thank you to Mr Katsari, the mentor, and the pianist to demonstrate.
Merci de nous offrir une master class qui m'est extrêmement utile pour rester à niveau malgré mes 83 ans autodidacte ! merci encore Cyprien Katsaris
Étant autodidacte moi même cette masterclass me permets de comprendre comment mieux jouer cette musique magnifique, qui est la raison pour laquelle j’ai commencé d’ailleurs! Merci monsieur Katsaris.
This changes my life...
I knew this piece is hard but I didn't know it is *that* hard.
Chopin to najpiękniejsza spuścizna dla ludzkości. ❤️❤️❤️
francais! et un peu polonais ...mais un peu .... ^^
I like how the student finishes her last notes and lifts her hands up elegantly every time the professor asks her to stop. It feels like she's not interrupted abruptly but just completed a stanza of music.
It’s annoying actually
@@marshan1226 Bruh this is what masterclass is for. Every measure must be perfect.
I have learnt so much from this video, and yet, I can't understand French. I am learning this piece and this is a wonderful tutorial on it. I wish it had English words.... Thank you so much for posting.
Merci pour cette video j'aprends bcp
NO ONE and I mean NO ONE can understand Chopin's nocturnes like Katsaris. He cracked'em....his Nocturnes have so much depth and subtleties.
I find Maria João Pires' interpretation of the nocturnes is excellent
I also love Maria Joao Pires. She is marvellous on these pieces.
Imagine you can play Chopin like this and speak this beautifull language as well...and sit in this wonderfull room with a great piano...and...
I can speak Japanese and know a little French. Maybe i can help with english captions but anyone knows how to add it?
we could add captions to videos on PC a years ago. but youtube remove that feature because of spams...
Min 10:28: Si yo soy la chica, salgo corriendo como si no hubiera un mañana. Sin mirar atrás. 😥😥
gracias por el video. Muy claras las explicaciones del maestro.
Can anyone translate this to English?
i wish
après avoir regardé et écouté cette video, je suis en sueur - c'est super la masterclass virtuelle -
Je suis d'accord avec vous !
参考にさせていただきます！
Please add English subtitles
Please don't ...
I don't see why not, it would help a lot of us who don't speak French
robert sklar My French classes in school finally pay off 😅
yeah me too :)
Its 2019 and still no substitles.... help...
Excellent! Des indications précieuses. Merci
mil gracias por este vídeo,.
Muy agradecido , saludos desde Perú
Maravilhoso sensibilidade transmitida com perfeição.Gratidão .
Absolutely amazing!!!
"les doigts faibles sont plus sensible" 😍
Only in Japan are such cultured things aired on regular ol' TV. The most avant garde artists and virtuosos even to this day always want to go tour and perform in Japan before any other place. They come to the USA the last because its just plain dumbfuckery running rampant in our nation here. Japan on the other hand popularizes and deeply appreciates virtuosity and musicians that push the limits and are on the cutting edge. They don't like things dumbed down, they appreciate complexity and skill at the general populace level.
I turned on cc( caption) and chose auto translate- English. The video automatically turns on English subtitle.
Bravissima 🌹🌹🌹🌹🌹🌹
excellent!!
I didn't watched the video yet when I saw it's not in english and with japanese subtitles. I find the comment with english translation and start reading but finally start watching the video. I realise it's in french, and I'm french 😂
Excellent
Belíssima! I Love esta música.
Grande classe ce cours
for myself
24:45
Beautifull hands from her
me gustaria estudiar con alguien tan sensible como ese maestro.
estudias con insensibles??????????
WHY DIDNT I TAKE FRENCH INSTEAD OF LATIN IN SCHOOL what was i thinking 😭😭😭
Why would anyone take a dead language without learning any of the major languages in classical music world(aside music itself xD), which are German, Italian, English and French
Doctrina est etiam possibile. Iam nonne tu probabiliter, cum sit senex comment. Vos can quoque expecto aliquem facere aliquid subscriptis latinis xD
Siiiii XD
10:29
Очаровательный урок!
Khoisan translation please.
Would love to understand the directions. Someone can translate quicker than I can learn French.
細かいけど、こんなに変わるんだ。
2 french girls, why so difference?
Hola necesitaría subtítulos en español, gracias
21:52 arabesque
WHY THIS ISN'T ENGLISH :(
This student has no ears for what he demonstrated!
you could do better??????
english title, french speaking... reported to get the title updated. shame on you uploader!
Okay Twitter warrior