F. Chopin, 3 Etudes Op. 25 Nos. 1, 8 and 12 (Can Cakmur)
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- Опубліковано 24 сер 2024
- Chopin's second set of Etudes continue in the same vein as the Op. 10 set but with even greater musical invention and a more structured approach to technique. Whereas the first set includes novelties such as very wide arpeggios (No.1), wide broken chords (No. 11) or figurations that require unusual flexibility (Nos. 7 and 10); the second set deals with more traditional challenges including double notes (Nos. 6, 8 and 10) simple arpeggios (No.1) and newly developed common figurations of 19th Century (Nos. 5, 11,12).
Op. 25 No.1 is a primarily melodic piece. The pianist faces a challenge to make a melody out of the top notes of an arpeggio. As the arpeggios are too large to play without wrist rotation (which makes holding the melodic notes impossible), clever usage of pedal is essential for shaping the melodic line. It is often the case with Chopin that the ear should dictate the technical solution rather than to listen retroactively.
Op. 25 No. 8 is a particularly difficult study. The difficulty is twofold: remaining relaxed while the sixths twist and turn the wrists, and coordinating half bar oscillations of the left hand with the melodic contours that take up to four bars of the right. As usual, clever pedalling is important for the continuation of the melody while retaining the movement of the accompaniment.
Op. 25 No. 12 explores a novel piano technique for the time. The combined broken chords over different registers reach a greater sonority effect than otherwise possible by traditional arpeggios, without sacrificing tone quality. Probably it is not a coincidence that Chopin quotes the intervals B-A-C-H, just transposed to c Minor. The effect of a theme distantly reminiscent of a plainchant, augmented by the unrelenting arpeggios create a rousing effect.
Festsaal of the University of Music Franz Liszt Weimar
19.02.2021
Decent, deep, atmospheric, no exaggeration yet full of expression. Finally a Chopin that makes sense!
Thanks, in no small part to you, dear Emre!
@@cancakmur thanks for acknowladging my support dear Can:) you are a natural anyway...bravissimo!
Your Chopin is very dynamic and very elegant!
thank you so much
This performance alone serves as a lesson on how excess rubato shouldn't be a criteria for expressing the Chopinesque moodiness- but the voicing of the polyphony and the dynamical range of the work. It's a rare gem to hear Chopin, as Emre Şen mentioned, in a "no exaggeration yet full of expression" style of interpretation, and this clearly suits and voices that embellishment. The phrasing of the both voices in 0:56-1:08 could make me imagine two angels accompany the aeolian harp in a compromisation of the voices during a dialogue... Kudos.
Thank you so much. It means a lot to hear this because these etudes have taken a lot of work to bring them up to performance level.
I've been your big fan since you won Hamamatsu piano competition. and love your Chopin. It's so sweet and full of romanticism while keeping clear sounds.
Thank you so much :)
Dinlediğim en güzel Chopin yorumlarından, teşekkürler Can!
ben teşekkür ederim
Beautiful, Brilliant sound your plays ''Chopin étude''performance lovely for me 🎶🎵🎹👍👏♥️♥️♥️♥️
Thankyo posting 😊🙏💕🍀
I'm happy to be able to listen them ‼︎❣️
I am so happy that you liked, thank you
Chopin etüdleri , çalınması kadar doğru yorumlanması da zor etüdlerdir. Muntazam yorumlamışsın . Genç Zimerman çalıyormuş gibi hissettirdin .Başarıların daim olsun .
Harikaydı... Can Bey lütfen bu kadar ara vermeyin....
Çok teşekkürler ve haklısınız daha sık video yüklemeye çalışacağım bundan sonra
Another deep and differential interpretation. I like this version.
N12 is fantastic, the best I have ever heard.
Happy Birthday , Chopin !
誕生日おめでとう🎂
Çok güzel ve içten bir performans..Happy birthday Chopin 🎉🎊 Berencimin senin yaşlarına gelmesi ve sen gibi olması hayaliyle yaşıyoruz 🙏🙏🧿🧿
Çok teşekkürler, Beren'e başarılar ve mutlu bir yaşam diliyorum.
Incredibly beautiful and magical 🎶❤️
Superb performance and great explanation. Thank you!!
Thank you very much
Refined as always and very detailed explanation👍
Thank you very much
Mükemmelsiniz, çok içten çalmışsınız ❤
Çok teşekkür ederim
Harikasın Can, ellerine sağlık 🙏🏻🙌🏻
Çok teşekkürler
Wunderschön...
I want you to come to Japan soon. I am looking forward to that day❤
Thank you, I missed Japan so much :)
Bravo Bravo
Biz teşekkür ederiz Can, harika :}
:)
Çoook iyi👏🏻👏🏻
teşekkürler
sehr schön!👏
Gerçekten muhteşem, tebrikler💐
Çok teşekkürler
Ellerine sağlık 👍👍🙏🙏
Muhteşem 👌
BRAVO !!!!!
Thank you!
Harika 👏👏👏
teşekkürler
Muhteşem !!!
Çok teşekkürler
Tüm kalbimle 👏👏👏👏👏👏
✨👍
👏
Çok iyi
Teşekkürler
@@cancakmur soru cevap yapmayı düşünüyor musunuz veya piyano öğrenen,öğrenmek isteyenlere tavsiye verebileceğiniz bir video ?
Wonderful concentration on the essentials. But why do you play the middle voice in the end of 1/25 if you - convincingly - renounce to do so even where Chopin wanted them? That's not consequent. Beautiful nevertheless, especially your smooth sound in 12/25. Congratulations.
You are absolutely right and I really do respect your hearing and concentration. Thank you, not only for your kind words but also for your attention. I chose to play these etudes from the old German edition (Breitkopf & Härtel, 1850’s) which differs slightly from our usual texts. I generally prefer the 19th century German editions when it comes to Chopin because I find their phrasing very convincing. It probably stems from Chopin himself as he always prepared more versions due to copyright reasons.
In this edition, the voices that are marked with larger note heads are presumably to be pronounced. Except for the very ending, only in the f minor section there is a counterpoint, thumbs of the left hand, which I believe I show in accordance.