Read before you play! Chopin Etude Op.10 No.1
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- Опубліковано 21 сер 2024
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Chopin Etude Op.10 No.1
Interpreting pieces is one of the most interesting things to do in music - no matter which instrument you play. In this video I am breaking down the 1st Etude of Chopin (Op.10 No.1) in its harmonies and dynamics to discuss about interpretation. In my opinion there are more ways to interpret this piece than only playing it in forte or even fortissimo from the first until the last note.
A full analysis costs much more time to explain and to do - therefore one video is by far not enough so I am concentrating on the main arguments that I found to show you why I would interpret it differently.
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Which interpretation do you like more? Staying in forte/fortissimo for the reprise or going on a lower dynamical level? Tell me in the comments!
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I’m going with the latter
I have many Chopin recordings but the 24 études only by Murray Perahia - he ends in p-piano, I'd say. I prefer the softer variant, as you say, it is closer to what Chopin wrote, but also ends in a more relaxed feeling after the uptight odyssey of the first parts.
both are fine..
but! you know.. i don't think i've ever heard this played quite the way you do, how you're bringing out every first arpeggio of an upward sequence (and i think even every last one of a downward sequence).. it's creating a very curious effect and adds another harmonic layer to the whole piece, makes it sound so different from what we're used to.. and now i can't get it out of my head. very cool! 👍👍
Horowitz asserted the following about learning a new piece (paraphrased): "When I am learning a new piece, I do not listen to other interpreters playing that same piece. Indeed, it is better to make your own mistakes rather than to repeat somebody else's."
Horowitz nailed it 👍👍👍👍👍👍👍👍 I couldn't care less of how other people play
i'm not Horowitz though, why would i do that
@@ryzikx , because it is often good to take advice from the experts.
Horowitz also said that he listened to every older musician's advice as a student and young musicain. He said he didn't always agree but he took their information into him and from that your own style develops. So Horowitz as an older, formed musician didn't listen to other interpreters because as a learning musician he'd already listened to numerous interpretations to form his principles. Of course Horowitz was also completely insecure and intimidated by the big, Beethoven, Schubert sonatas and was in tears after seeing and hearing Rudolf Serkin perform them.
You are eight, so do I
Italian here. The one that definitely makes more sense in today's Italian is "fortissimissimo".
I know that a lot of people use "fortississimo" which is not a word in Italian, maybe some time ago it was a correct term, and its use in music sticked to this day, I don't know.
no it’s fortississimo .
@@hi-hc3ms you have no reading comprehension skills
Nell'800 non esistevano questi neologismi superlativi da supercazzola 😂 fff sta per "forte fortissimo" nella terminologia musicale della dinamica.
I only know it as „forte fortissimo“
Mmh... Before knowing an answer, I would have to study the piece with more time going through it, and practicing as well. For a casual listener, he or she just hears a piano sound going up and down in a fast tempo...))) -- not so much more. To me, the changes of harmonies and the dynamics are fascinating. Since it is an étude, it has a purpose for study, it leaves space for changing moods, and at no time it should be played exactly the same. I think, Chopin himself always was experimenting. This is a framework -- as Bach's WTC -- and we still have to color the details, sometimes red, at other times blue. Go fully by your inner voice at a given time. That always sounds best. 🙂
Not to be mean, but in french the accent of étude isn't above the u but above the e : *é*tude 😉
Nonetheless, I agree with you
@@baptisteb7144 Corrected)
Splendid. I personally like the softer option, as it creates a different mood after the journey through all the different keys and paradoxically creates a feeling of evolution as opposed to a forte with gives more the sensation of a repeat of the beginning without considering what has been happening so far. The MF sounds nice like finally back to the home key while still keeping in mind the overall suite of events . On a different aspect, with respect to the accents with the 5th finger, I have noticed that you put an emphasis on the 1t accent of each sequence in the ascending part and on the last sequence of the descending part which create a sort of middle voice which is very nice, I was wandering if it was in relation with the Cortot edition which has specific accents on certain bars in addition to the general rule of the normal 5th accents. Well done .
Quite. Nine times out of ten best not to hammer the klavier.. Also important not to confuse speed with drive.
The second option with the diminuendo at the reprise is the more interesting for me. I'm surprised that it is so rarely play that way.
Thank you for your lecture. You're very talented!
I gain a new appreciation for music and composition after every one of your tutorials.
Fantastic video, loved the different interpretations of the etude, particularly in relation to the others. FFF is Forte Fortissimo
I love that inner voice melody you get with the little finger. I thought it must have been your thumbs until following in the score. By thinking about this melody, the arpeggios suddenly become mere decoration and the whole thing seem to flows much more easily.
I always appreciate your videos and your explanations. I would love to see you do Chopins’ Nocturne Op. 72, No. 1. Ive been struggling so hard with measures 32-37 and would love to see how you tackle it in your 1 min, 10 min and 1 hr challenge.
Also, I’m new to Chopin in general so I’m sorry if it’s basic.
Advice from others is also welcome 😊
im finishing up this piece right now, some advice i got from my teacher that helped me get most of it clean already was to:
practice the runs slow and lightly, for the downwards run in measure 34 (which i still struggle with) he told me to divide the run into two quadruplets and just repeat the wrist movements until it is clean
the chromatic scale just needs to be played evenly without rushing it
As an italian, since, "issimo" is the suffix we use to say "very", i would call fff a "fortissimissimo"
In Spanish we have the suffix "-ísimo" too, and we would probably repeat just the "si" part, so that would come as "fortisísimo" xD
"fortississimo" I've been taught as a Romanian
No. fff nella dinamica musicale sta per forte fortissimo. Non si usavano 300 anni fa i superlativi da supercazzola che usiamo noi oggi
I like to alternate between the two (wish I could do it remotely as well as you) depending on the mood and whether I'm warming up or not. Loudness variations aside, one thing I could never unhear once I'd heard it is Ashkenazy's quieter passages with seemingly no pedal at all. The way he does that just grabs you and draws you in so powerfully it's unreal. This, I try to replicate to the best of my ability every time I play this piece.
Thanks for the high quality content and the cheerful tone :)
Yes that sparse pedaling is very effective.
Both versions are just as good as each other but to watch you play is so mesmerising it’s a treat to watch you play ❤️🥁🇬🇧❤️
Op10-1 is iconic... dedicated to his friend F. Liszt... at this point, the pianist should not bear more hope and innocence. This piece is made for big-bosses.
I heard that this pieces was written when Fred was a music student in Poland, something between a "personal practicing exercice" and a "bloody homework".
When I first read it, I was consternated by the simplicity of the stuff... C major, F major, Gmajor... then I tried, and only then I started to cry (that was 5 years ago and I'm still on it).
I am compassionate because i know how difficult this etude is to learn, and just when you think you made significant improvements and running through it with almost no technical hurdle left, and you leave the piano confident its getting close, that you will for sure master soon, then weeks later you learn new pieces and come back to this a month later and sound like sh*t back to only half-way level of learning it, that is frustrating. Then after much practicing it again you bring it back to somewhere close (but not as good) as the level you thought you had reached. This is the only piece where it de-learns itself. The right technique keeps on being elusive. Unlike most piano pieces this piece does not have an intuitive way on what technique to use.
@@goognamgoognw6637 Your comment is perfectly describing the problem : "This is the only piece where it de-learns itself".
I'm on it from 2o17 and work on every day (will be victory or death) for at least 3 years. Same for op 25-12... I'll get the both and I'll pay with any time It will need.
I initiated a kind of strategy to approach op10-1 thanks to Elsa Puppulo ua-cam.com/video/Dh9WObm8Afw/v-deo.html
I know a few versions of fff:
Forte-Fortissimo
Fortississimo
Fortissimissimo
Frotissimo Possibile
As far as I know they are all okay to use. My italian friend told me they say Fortissimissimo, my old piano teacher always said Forte-Fortissimo, in the music school I learned later that its called Fortissimo possible... lets be honest many will learn different versions and they are all right
I use Fortissíssimo
Fortissimissimo sounds good
I say triple forte
Italian here. The one that definitely makes more sense in today's Italian is "fortissimissimo".
I know that a lot of people use "fortississimo" which is not a word in Italian, maybe some time ago it was a correct term, and its use in music sticked to this day, I don't know.
I've never heard of "Fortissimo possibile" and this one too is incorrect in modern italian, though I read sometimes in scores "più forte possibile", which would translate to "as loud as you can"
@@areapiano I know that Fortissimissimo is the most accurate, but somehow thats something we never hear here in Germany. Officially in music theory we use Fortissimo Possibile, even if it isnt the most accurate
You are a wonderful pianist and a terrific teacher.
I like the softer version if not just for a more varied interpretation. However the way you explained it does make it seem like your interpretation follows the scores more closely, especially taking no. 3 and no. 4 into account.
4:16 OMG!!! I completely agree and relate to this!! 😃😃
I also like your shirt!
Theeee heckkkk, I was just checking this Etude and try to learn it!!! EPIC! Waterfall is dope!
Thank you for providing some much needed direction for tackling this piece. I have been struggling a lot trying to figure it out until I found your videos on how to approach this piece. Keep up the good work! Excellent job. :)
You're the reason behind falling in love with this etude....vielen Dank
fff = Forte-Fortissimo = so laut wie möglich = as loud as possible
I also know the version Fortissimo possible which actually means "so laut wie möglich". At least thats what I learned in music school a few months ago, tho Forte-Fortissimo is more common and I prefer it
Personally I prefer staying in forte when we go back to the C major section. But diminuending to piano is also a tasteful interpretation which I will try next time. :)
Also, I notice you deliberately bring out the 2nd and 8th beats of each 8-beat phrase (even though there's an accent on each beat). While I understand bringing out the 8th beat because of the subtle harmony changes there from the middle of the piece, I find bringing out the 2nd beat interesting! Is that also part of your interpretation? If so, what were your considerations for doing so?
Surtout, avec cette nuance piano on perd la tension sur le sublime accord 7 mesure avant la fin. C'est au profit du caractère général paisible de cette interprétation. Above all, with this piano nuance we lose the tension on the sublime 7 bar chord before the end. It is for the benefit of the general peaceful character of this interpretation.
I was wondering the same thing. I even think it might be the E and F that were "unbalanced" (uneven) from the instrument itself at some point.
Very very good technique and interpretation, though. Always nice listening to you.
Your comments are very sensible and helpful! To the point and observant , e.g. harmonic rate of change. Even more importantly, when you play the chord progressions you play thoughtfully and very beautifully making us hear the movement of the inner voices. Most forget this in the sheer technical difficulty - but observing these things is also a help in getting round the technique! Thank you!
I think it makes sense to maintain the forte at the reprise. Going mf just breaks the unity of the piece into 2 different sections, when i see the piece as one continuous flow without disruptions. The ending must be as strong and even just a bit stronger than the beginning. But it also make sense to introduce some dynamic grading during the piece and play on articulation to shape the flow.
Completely agree
Love what you’re providing us! Please do an in depth op 10 no 5, Annique:)
I like the second interpretation. It's more nuanced, vulnerable and human. I like your detailed analysis. Thank you so much.
Thank you for all the work you do in making these videos. I always look forward to your videos, because not only do you do an excellent job of teaching piano, but you also have an outrageous sense of humor, which makes me laugh! 😍😀👍
J’aime bien comme vous faites ressortir les voix et spécialement le final où elles changent d’octaves, merci 🤩
Great work, very well done!
In Italian we say: Fortissimissimo! ;)
@@j.rohmann3199 I was joking... ;)
Finally i find someone with 2313 fingering on "that" bar!!! great!
I would love to play it in fortissimo. To me going lower seems to drain out the heroism of the comeback.
great way of putting it!
you comsidered this in terms of hand size last time so I look forward to this.
Like A Breath of Fresh Air, Lovely Pianist🖖♀️🧬💫🎶🎥🧈🍿🌟✨⭐😇🎹🏆🫶🥰🚭🌐🛡️ BRAVO 😊
to play at 70 percent tempo is huge accomplishment, above that is totally awesome.
I like the diminuendo, repose, safely home in the reprise still allowing the ending's positive assertion, confidence (forte) that we're home to stay. :)
Your interpretation is one of the best, especially the independence of the inner voice singing through and above the torrent of emotions ensuing, sometimes fighting with! Thank you.
2nd version... it's unexpected, contrasting and ultra elegent!
Thank you again, look forward to number 2 etude
Doing diminuendo into the reprise (your second option) brings more variety to the etude, I love it!!
I prefer the second ending. More mellow and good contrast of Dynamics and color. A sense of resolution.. keep up the good work with your tutorials. They are very helpful to me. Good luck in your future performances.🌈🍓
I like the reprise on a lower dynamic level like how you played.Also most people end this piece in forte.I personally prefer it to end a little less loud like how you did.It somehow sounds better to me,and that's the way I end it too.I have fairly small hands and still struggling to attain the speed of this etude.
Chopin to me was a transitional pre-modernist who understood the concept of null space in music. More than likely there was some depression there as represented in his music, but he had seen the future. His problem was he was another talented artist stuck in a period of time to where society was changing around him. This is told in metronome rhythm time & spaces in the raindrop panino suite, to where this piece is still appreciated in the modern times. What does one do, how do they react, survive when your assignment in life is to be stuck in an awkward period of time?--*This and even if he did everything wrong in order to kiss butt to make money & feed himself, he did this right ua-cam.com/video/6OFHXmiZP38/v-deo.html
I love watching your videos just for fun :D better than Netflix 😂😂
*I love watching your videos* ❤️ *i learn a lot from You, wish you always the best*
f - forte
ff - fortissimo
fff - forte fortissimo
ffff! - forte fortissimo, fraulein!
I believe fff to be "fortississimo", ffff then fortissississimo etc.
Very interesting to have heard it on a Yamaha piano, compared to your Boston and on a Steinway.
The Yamaha has a more precise and transparent sound making every octave repetition blooming out, the Steinway has a more researched but fatter sound even with light pedal the harmony just saturates in the low registers and you don't hear the notes as neatly. Your playing if absolute top notch and beautiful, very impressive.
enjoyed your performance of this etude on your last utube video. Thank you.
Also i might be wrong but I remember my choir teacher saying f=forte ff=fortissimo and the more you go the more issis you add so fff would be fortississimo
Yes but tissi so fortissitissimo
As a german I usually hate the german accent :D but it sounds good coming from you for some reason ^^
You inspired me to start playing piano. I got myself my first beginner keyboard, It's a shitty one for 55€ on amazon for black friday. It sounds absolutely horrible, but I've been playing non stop since monday just to get used to it. Eventually I will be able to afford a better one
Concerning the dynamics the 2nd version makes totally sense .
I'm like in love with you. I'm a senior in highschool planning on going to college for music, and it's my dream to become like you one day, and understand the theory and how things work like you do, and to play a piece in a year as well as you can play a piece in an hour. I hope I can be like you one day
As most who have gone through this path before, be aware that a love of music alone isn't enough on the pianist career path. The reality is that it is a marginal career for 80% who succeed in it, and that many who start it end up switching to a different occupation because of having to make a living. Also today, there are way to many pianists which means it is not really a career, it's like trying to be president of a country. Not to discourage you, but i've heard more than one Doctoral piano students who said if they had to do it again they would choose a career where they would not struggle financially. Even successful highly praised pianists who are not world famous, get little financial income from it, especially if they don't teach or do not have a professor position in university.
I am subscribed 👍🏻 love your videos! Keep up the great work 💚
As Italian i confirm fff is "forte fortissimo"
Can you do a version where it’s all chords ❤❤ it sounds sooo calming and perfect😍
very nice interpretations. I like diminuendo before going back to c major.
Please make more of these👍👍
I very much agree that the refrain should be quieter. It's saying "you've already heard this, you've come around to our side already... no need to force the issue" kind of thing. Whereas repeating in F doesn't present any arc to the story. Outside of that, having a quieter refrain lets you hear different tones than you hear the first time, which makes it more interesting all else being equal.
You are the best, you helped me a lot with no.1 thx ;)
The chopin study number 12 would be good to play, though I understand you are doing all of his etudes.
When you play Chopin so much, you start to speak Polish XD
I always thought classical pianists plays it the way of the composer. What do I know I'm no musician, I just watch this because she is beautiful and plays beautiful.
Wait I had never heard that inner melody!
Wow, you sparkle like a diamond!
What would be really interesting is how many people in your community are German. Maybe you could do a UA-cam poll
Fände ich mal sehr interessant ;)
Dear Annique. Here is my comparison between your interpretation and Cortot's.
Let me say first, you have technically mastered this study, and have the rare privilege for some expert pianists to create their own interpretation when most others (including pros) are happy they can even get through this daunting etude. Your playing is incredibly good and i am not someone who has mastered this etude but since you asked, here is my musical opinion :
Your harmony analysis is great. I was like 'right ! Yes, right". :D Here is what's negative (forgive me):
You have a tendency to rush the arpeggios fast furious style in the high mids and trebble, then you slow down when you get back low in the bass. This kind of rhythmic variation is not musical and gets in the way of making long musical sentences and gives the impression that the music progresses through hysterics of short panicky bursts (i exaggerate), like a protesting person making accents here and there, which i don't think it is. In some of the rushed arpeggio I hear the first 3 notes and the pinky note is missing only because you rush (the repeat of the starting theme), if you tried to be more steady you could get all 4 notes and benefit musically (listen to Cortot).
I agree with your A minor section interpretation but i do not agree with your decrescendo and trying to settle things at you approach the A major 7 with rituendo (not the later A major). That part is not a point in the music where all is well again, it is the expression of a brave soul that has experienced tragedy he has overcome about to tell you what troubling events are behind the composition which unfold next with modulation to remote keys. So the A major 7 should be a musical anticipation that is actually slightly more emphasized, not less, and no slow down (See Cortot). It has a seventh !
After the remote keys modulations when you get to the pure stretched out A major arpeggio you lower dynamics that is nice but then it is the left hand that must direct the musical phrase, avoid right hand outbursts on treble octaves, keep it as even and steady as possible especially during the falling fifths the left hand much phrase the music more, not the right hand. I know at that point the right hand change harmony fast but it's the left hand that must give the impression it is shaping the music. Then before the reprise you make drastic changes of tempo to emphasize the end of the development section but it sounds academic and doesn't quite work. Listen to Cortot.
I'll say the best performance of this etude must be steady tempo and peaceful in execution, no musical nervousness and outburst in the right hand. You must give the impression of making left hand rubato, even though the right hand is playing a crazy amount of notes. Pianists who hear it should be inspired by the music of it, not the fast moving fingers. Listen to Cortot, you never get the impression that he is trying to impress with finger dexterity but his tempo is as steady as possible (not faster high, slower low) and if he uses rubato in a progressive subtle way , not sudden. He messes up a few notes but musically he leaves a mark on you. If only using two words i'd say play it more hauntingly and more calmly musically speaking.
When I played the reprise for the first time in front of my teacher he was surprised. I played a decrescendo as written. He told me that he hasn't even noticed the decrescendo Chopin had written because almost everyone plays a crescendo or stays at forte. But he supported it because it not only is Chopin who wants a decrescendo, it's also easier to play lighter so that the hand can rest.
Hey just one question how long have you been playing piano when you learned this piece?
@@gabrielabisaad1024 About 10 years. Do you also play this piece?
I love your videos I was also wondering if you could play/analyze chopins waltz in A minor
I wonder what Liszt would say or has said about the Etudes.
Apparently he was playing(sight reading!)them from the manuscript in Chopin's apartment while Chopin was writing to his sister.
In the warsaw chopin museum they write about the heavy emotional influences on the young chopin from heavy cavalry fighting amongst his generation.
woah woah woah two months in Warsaw and they're already going nuts :0
Tolles Video
You’re a real UA-camr now ;)
Bach influence is visible in the way Chopin writes a counterpoint against a melodic bass line. Unlike some of his contemporary fellow musicians, the progression is arranged in long term harmonic goals but driven by the counterpointed figuration of the right hand. In between the main structural harmonic goals, Chopin maintains a dissonnance between the bass and upper voice.
But the piece, though more elaborate, is also largely influenced by Moscheles studies, opus 70 n11 in particular, or Cramer D minor study.
9:20 We say "forte fortissimo"
In Italian fff we say: più che fortissimo, which means more than ff
At school (and for "Theory" examinations that had been the same since the Victorian Era) I was trained to say fortississimo. Obviously nobody actually says this in practice. I have never encountered a case of an actual musician referring to a fff as anything other than triple forte.
We use to translate fff by "Il piu forte possibile", in italian ...
Sehr gutes Video!
Dim i prefer, i agree, more subtle
You seem to have a healthy approach; I like that. Why don't you try period Pleyel or Erard grands, which Chopin had at hand? These instruments will show you the way even better regarding interpretation. This experience could be helpful even while playing on a modern concert grand. All the best, Willem
Good video…interesting.
Thank you so much
Thank you so much for this musical analysis! I would love to interview you.
I prefer the forte interpretation. I think it fits better for the piece and the feeling it gives to the listener (me). When I listen to this etude, I feel I am taken over by the melody, while the right hand is just guiding it up to the sky. Softening the sound too much, makes it lose part of the "awe" the melody creates.
Lower dynamic feels better for sure
Part of that 30%💪🏽💪🏽
Thank you for including your brief guide to pronouncing the name of J.S. Bach. I saw this, paused the video and called my wife over, then I told her that you and he are/were German, and I played back the moment where you highlighted the correct pronunciation. She and I are now on the same page with the correct way I've been pronouncing his name all along, so now my wife will no longer laugh at me (about this). Thanks for this! :) Oh, and I like your soft at the end version. One quick question: Do you over there call not descending fifths the "circle of fifths" like we do here? I've been known to refer to it as "Bach's merry-go-round", especially when it sometimes seems to spin out of control bringing uncertainty like in this piece. Great lesson!!
You are looking radient today 😊
i believe fff is sometimes referred to as triple forte in English - a closer version to the German variety too :)
Isn't fff called forte-fortissimo? And ppp piano-pianissimo. At least in Finland we use those terms for them 😅 I'm not sure how they should be written
I would like you to play that of "La valse d 'Amelie" by Yann tiersen.
Mezzo-piano in the reprise. :)
In Poland the triple F we call forte fortissimo :)
I prefer the second interpretation ! Feels more natural
Hey @Heart of the Keys
I prefer the 2nd version better
Maybe do rachmaninov- prelude in g minor op. 23 no. 5 on your next challenge or just a little interpretation?
Best of luck
The softer return to C seems to reflect the same compsitinal aesthetic as the "coda" in the Opus 10 number 8. which is far more deliberate in dynamic reduction than Opus 10 number 1, Though I am surprised at the the number of interpretaions that think that soft is at least an mf or louder.
I like both, however, what happens is that I become "drawn in, or bewitched by the complexity of the harmonic resolutions and that makes my hands search for ever more sweetness. How else to explain it? It gets jazzier (syncopation emerges of its own) and more complex, which cannot remain fortissimo. Thank you for your wonderful presentations!
"Dzień dobry" nice to hear some polish :)