Denis, you are such a highly gifted and intelligent teacher and an excellent pianist. It is always very instructive and enriching to listen to you. Thank you so much for producing this UA-cam series!
I totally agree with you Denis👍🏻👍🏻👍🏻👍🏻In my opinion too Chopin never like aggresion. I always noticed his sorrow and despere resolve in beautiful softness all his anger creates beauty instead of destruction and Chopin endlesly born again and again from his beautiful positive mind leaving anger and sadness behind gently...🥰🙏💐
It's so fascination to me, how your facial expressions start kicking in even if you just start in the middle of a piece and only play a few bars...your truely a musician
Deeply and seminally insightful. Fun videographing. 2-3 for anchors on switching positions-makes sense. Dignity and pride. You can demonstrate with excellence the issues you are talking about. We believe you when you demonstrate. "Not like yesterday's oatmeal." Brlliant analogy. Some of the highest quality videos on the internet pianoshpere. Love your stuff. Brilliant. I don't play this repertoire but your guidance and insights are invaluable for my playing.
7 video courses in a row?!! I really like these pieces and these happen to be some pieces that I want to play in the future. You are being really productive 😄
It is a good decision using this split-in-3-screen. It is helpful to see score, hands and you speaking at the same time in such tutorials. Why could there be another opinion about Chopin and his style? I cannot imagine someone noticing the sky to be green instead of being blue, but everything is possible...😆
This video is worth GOLD to me. I like the advice to play with NOBILITY. This is why I like so much the playing of Geza Anda, in the waltzes, for example, with much elegance, or that of Lipatti with more energy. I find the instruction by Denis very valuable, and I have benefited from it quite a bit already. So I will "hurry to grab a bunch" of his courses... to get the good discount, ha ha.,
Great video. Funny you used the contrast with Liszt. There is an old video of Arthur Rubinstein giving a masterclass of the 1st Ballade. At one point he stops the student and says something like ‘it mustn’t sound pompous- with Liszt that’s ok, but with Chopin no!’
Thank you for doing this very helpful video about tips to play Chopin beautifully，it explained a lot of the common errors that students make. You are such a great performer and teacher.
Hi Denis, just want to say thank you for these videos! Ive watched quite a few of them and they are always interesting and informative. I do have an opinion about the A-flat polonaise though.... Have you ever listened to cho seongjins version? I think his passionate, energyfilled performance is my favourite, and although chopin himself may not have been able to create such a sound, I believe that the pride and strength that Cho shows would make chopin feel proud of his heritage. Its not noble and elegant and "befitting of chopin" but i do think he would appreciate it all the same. Just my thoughts though! I do agree in not abusing the piano woth very harsh chords though
10:18 Here you played F# in the left hand, but the score says D#. I know there is a 'controversy' here and many (if not most) scores do say F#. Do you have any insight as to why you play F#?
Nice spot on. As far as I know, D# is primarily found in Paderewski’s edition, known for its approximate and loose attitude to Chopin’s urtext. I sometimes use this edition for display since it’s in the public domain, but it’s not very reliable in terms of authenticity. I haven’t researched this spot in depth, but I bet it’s just the editor’s modification, not Chopin's. Let someone correct me if there are any researchers on the topic.
Got it. I believe I heard a rumor of there being two manuscripts, each with a different note, but not sure how accurate this is. F# certainly sounds more natural, but D# has a darker, "deeper" feel that grew on me. Some famous pianists play D#, but I believe F# is more common -- I'll look into it more. Thanks for the response!
Grand video, thank you! Although not necessarily by categorising Chopin's style , perhaps one could more loosely define it as knowing the instrument and having a sense of musicality. The categories are biographical.
Hi Denis, I would love to hear your thoughts on Horowitz's comment about Chopin's music: "In the paper, he was never weak". It is on his interviews with David Dubal. Thanks for such a complete and sophisticated summary on Chopin's style. Best regards from Brazil, Fernando Vago
I love your explanations and I think your technical approach and explanations are exactly right. One question: You play often with really short staccati, which to me always sounds a little like a hiccup. I often hear this with pianists (my main instrument is viola, but I am also a professional accompanist), and it always surprises me. Would you consider adding a little length to these notes for tone or would that be considered bad technique?
It’s a matter of taste, tradition, and depends on situation. I believe that piano, unlike viola, has a great percussive potential, and can and should exploit it as well. I often play staccati not too shortly, but since I have a very clear idea about what I want to express in any given piece or spot, I’d say if there is a spot where they are very short, it is very much on purpose. Yes, people have so different and unexpected responses to things that are so common and seemingly mundane, it’s amazing. Once I had an experiment with a group of people asking them for their associations response to different pieces. There always was someone who would find a tragic piece funny, and a festive piece angry. Hilarious!
What are your thoughts on the 1st scherzo, or the 2nd sonata or even the revolutionary etudes as they portray terror and violence? I recall reading of a student who knew of Chopin's distain for piano smashing and he played chords/coda of the 1st scherzo with reservation. Chopin looked at him and told him to unleash. Essentially implying, if you have the power and strength, use it when it's called for.
I’d say there is a clear difference between a hesitant reservation and noble force. Even a person without any musical background can recognize when a player is afraid to project or tense.
Denis, do you do private online lessons? I have a unique problem, which means i can no longer read notation, and although i can play some pieces, i really could do with some help. Any suggestions would be appreciated.
About playing forte in Chopin, as you said it doesn't have to be that forte. I remember something Polish pianist and UA-camr Greg Niemczuk, who has uploaded analyses of all Chopin pieces, said. He states that after his performance of the Op.25 no 9 etude, a critic complained that he had destroyed the delicacy of the "butterfly". So, one thing Greg claims is that Chopin uses forte very rarely, so when he does it he means it. But of course, Greg doesn't mean to play it bombastically.
I think one of the ideas behind Romanticism and Chopin is to play always different, depending how you feel. If Chopin would be suddenly cured and treated with an injection of Testosterone he would maybe adapt the style. So we are allowed to play adapting to 2024 and who we are. He would have understood. I like more the sweetness but i think also this.
This "nobility" topic, and never being "brutal" is one that's perplexed me for awhile. Indeed, Chopin reportedly would tell his students to never "bark". But some of my favorite pianists and interpretations of Chopin's works certainly seem to have their brutal/barking moments (and I personally find it satisfying!). For example, Horowitz with the heroic polonaise. Or Richter and Hofmann with the 4th ballade coda. Would you disagree with those interpretations?
Great question! Ambiguous! I myself sometimes go wild when playing in big halls in pieces like this, and in my early 20s played definitely a lot with a straightforward sound much. So yeah I advocate for a rule, which I break sometimes, as many do. Another open question is whether Chopin himself would actually want this violence sometimes as a composer, despite the fact he wasn’t able to produce it as a pianist. But looking at his pieces, I tend to think that a rough approach wasn’t his credo.
@@DenZhdanovPianist Heh well there is also the famous story of the student who broke Chopin’s piano string, and apologized, to which Chopin replied “if I had your strength, there would be no strings left on the piano!”
His pieces are so dramatic and emotional they are begging to be played with some power, I honestly find the restrained playing of his pieces that is the norm today completely boring.
@@DenZhdanovPianist Chopin admired how Liszt played his pieces. On the one hand, that says to me there are allowances and freedom in the music. On the other hand, it would be interesting to know how Liszt perceived Chopin’s music. Let’s keep in mind that pianist in that time prepared themselves differently.
Hello, how are you, a question :(, what happens is that a couple of months ago I suffered tendonitis in my arm and forearm, precisely due to poor technique and other reasons. Now I am resuming and correcting many things, but in the same way they enter doubts as I watch various videos on piano technique. For example, do I always use the weight of my arm because when I feel like I am using it, I feel my finger or hand with a little tension just from carrying the weight, so not always. Is the weight of the arm used? Or what? :(. I also remembered that when I played, the thing of "scratching" the keys happened to me many times, and I have always wondered why. I had a teacher who told me that the knuckles always They must stand out, and sometimes by forcing them to always stand out, I feel like I'm putting on tension. And the truth is I don't know which way to go, sometimes I feel like I'm playing well, without tension, and then boom, a little pain or fatigue in it. forearm. And the truth is I don't know if I can play the pieces that I loved so much again, I don't know if anyone after my injury can play well again :(. Thank you so much
Hi Bryan, I am sorry to hear about your hand issues, and you have my fullest compassion! Unfortunately, it takes usually multiple months to recover, and the most important is not to push yourself, by playing not much and with good breaks between sessions. There are many universal aspects of piano technique, but many things are also individual, and I would suggest you to find a teacher who has an extensive knowledge about physiology and safety of piano playing. Taubman method specialists in this regard are usually pretty good. Quick fatigue is inevitable after injury, just respect and accept the current limitations and make decent breaks! The usage of the arm weight is necessary, but often people overthink it, by applying too much pressure on the keys, so try to be firm in touch but also very light, and remember that after an initial strike you can instantly offload most of the tension while holding a note.
Hello dear Denis you play brilliantli ans you are making so valuable explanation I wish I was able to play this piece🙏🙏🙏! I submit 2 mail to you dear Denis for personalized piano course I am looking forward so much to hear from you!! 🙏🌺💐🍀You remember may be, I had carpal tunnel on my wrist. I had 2 injections and my wrist and fingers are quite well now. I use robber band and rober stress bolls for my broken finger it works almost very well now with a little bit time delay but it improves everyday😊🙏👍🏻🍀🍀🍀I sent you my web sit's adress but I ihave mproved my playing quite a bit since I made those videos. They dont represent my current playing. I play chopin balade g minor nowdays but since I did not play for 23 years I play awful I think. I applied for your course twice-fist one was last week- but have not got any answer from you yet. Please let me now if you cant give course to me.. ..I have been looking forward so much to be able to get piano course from you🙏🍀💐🌺🌟Hoping to hear from you soon dear Denis Thank you very much in advance🙏💐🌺🍀💐🌺
Very helpful! Question: How do you (Denis or followers) feel about Artur Rubinstein playing the big chords to the point of lifting himself off the bench? (please correct me if i'm wrong) Thanks!
That’s surely epic and artistically effective, although from the technical standpoint not very necessary, players of such caliber are able to provide a huge sound not moving a body much
It reminds me of Yunchan Lim's body language during his brilliant performance of Rachmaninov concerto nr 3 (Cliburn competition) where he graciously lift his left food/leg several times when playing the final chords towards the end. An epic performance!
I heard old Rubinstein's recitals several times: his enthusiasm and sheer joy to share music with his public was fabulous, with a sort of complicity like between old friends; his public adored him, and I think his body attitude, his smiles overtly directed to us as well as the jumps were (one of) the possible reasons answering to your question. And I assure you that his playing was immaculate, brillant, creative, all Music!
Sorry Denis, you won’t get any feedback from me, apart from saying you are an amazing pianist, and I never get tired of watching those fingers at work . ❤
Denis, i cannot express how much im grateful that you’re doing these gems of videos. Thank you friend !
Glad you like them!😊
Totally agree! If Chopin were written language, it would certainly be poetry, I think. Thanks, Denis,,, as always, brilliant!
Would glad to see "how to Rachmaninoff" or "how to scriabin"
How to Rachmaninoff, step 1:
Be born with gigantic hands.
How to Medtner.
How to Liszt please 🙏🏼😂
Denis, you are such a highly gifted and intelligent teacher and an excellent pianist. It is always very instructive and enriching to listen to you. Thank you so much for producing this UA-cam series!
I totally agree with you Denis👍🏻👍🏻👍🏻👍🏻In my opinion too Chopin never like aggresion. I always noticed his sorrow and despere resolve in beautiful softness all his anger creates beauty instead of destruction and Chopin endlesly born again and again from his beautiful positive mind leaving anger and sadness behind gently...🥰🙏💐
I dont usually comment, but you said everything that I wanted to hear and more. Thank you very much !
It's so fascination to me, how your facial expressions start kicking in even if you just start in the middle of a piece and only play a few bars...your truely a musician
Deeply and seminally insightful. Fun videographing. 2-3 for anchors on switching positions-makes sense. Dignity and pride. You can demonstrate with excellence the issues you are talking about. We believe you when you demonstrate. "Not like yesterday's oatmeal." Brlliant analogy. Some of the highest quality videos on the internet pianoshpere. Love your stuff. Brilliant. I don't play this repertoire but your guidance and insights are invaluable for my playing.
Thanks for a wonderful feedback!☺️
7 video courses in a row?!! I really like these pieces and these happen to be some pieces that I want to play in the future.
You are being really productive 😄
Yes, my wife is not happy with how I spend our vacations, but I am happy you are!😂
It is a good decision using this split-in-3-screen. It is helpful to see score, hands and you speaking at the same time in such tutorials.
Why could there be another opinion about Chopin and his style? I cannot imagine someone noticing the sky to be green instead of being blue, but everything is possible...😆
@@DenZhdanovPianist Next vacation you should make a course on the Well-tempered Clavier.😈
Your piano sounds amazing…and you obviously play it brilliantly.
Extrordinary work. Thank you for sharing your passion and effort!
So insightful, thank you 🙏🏻
The only comment I have is how beautifully you play... you are a very accomplished pianist 🎉
Thank you !! I love Chopin ,hugs fron Bolivia!!
This video is worth GOLD to me. I like the advice to play with NOBILITY. This is why I like so much the playing of Geza Anda, in the waltzes, for example, with much elegance, or that of Lipatti with more energy. I find the instruction by Denis very valuable, and I have benefited from it quite a bit already. So I will "hurry to grab a bunch" of his courses... to get the good discount, ha ha.,
Glad you enjoyed it! Thanks for commenting!
Great video. Funny you used the contrast with Liszt. There is an old video of Arthur Rubinstein giving a masterclass of the 1st Ballade. At one point he stops the student and says something like ‘it mustn’t sound pompous- with Liszt that’s ok, but with Chopin no!’
Ha! Told ya.
Yes! The dotted rhythms unmistakably represent nobility, aristocracy and Polish pride (esp. patriotic songs)
Beautifully played, Beautifully stated...thank you
Thank you for doing this very helpful video about tips to play Chopin beautifully，it explained a lot of the common errors that students make. You are such a great performer and teacher.
Thank you!😊
Would like to hear your approach to Chopin's Mazurkas. Really enjoyed these video!
Absolutely lovely lesson, thank you!
Totally agreed, Denis!!!
Hi Denis, just want to say thank you for these videos! Ive watched quite a few of them and they are always interesting and informative. I do have an opinion about the A-flat polonaise though.... Have you ever listened to cho seongjins version? I think his passionate, energyfilled performance is my favourite, and although chopin himself may not have been able to create such a sound, I believe that the pride and strength that Cho shows would make chopin feel proud of his heritage. Its not noble and elegant and "befitting of chopin" but i do think he would appreciate it all the same. Just my thoughts though! I do agree in not abusing the piano woth very harsh chords though
Sure, I don’t advocate playing without energy. Also, the line between banging aggressive sound and noble power is a highly subjective thing
10:18 Here you played F# in the left hand, but the score says D#. I know there is a 'controversy' here and many (if not most) scores do say F#. Do you have any insight as to why you play F#?
Nice spot on.
As far as I know, D# is primarily found in Paderewski’s edition, known for its approximate and loose attitude to Chopin’s urtext. I sometimes use this edition for display since it’s in the public domain, but it’s not very reliable in terms of authenticity. I haven’t researched this spot in depth, but I bet it’s just the editor’s modification, not Chopin's. Let someone correct me if there are any researchers on the topic.
Got it. I believe I heard a rumor of there being two manuscripts, each with a different note, but not sure how accurate this is. F# certainly sounds more natural, but D# has a darker, "deeper" feel that grew on me. Some famous pianists play D#, but I believe F# is more common -- I'll look into it more.
Thanks for the response!
Grand video, thank you! Although not necessarily by categorising Chopin's style , perhaps one could more loosely define it as knowing the instrument and having a sense of musicality. The categories are biographical.
Would be great Chopin Sonata No 2 ( Presto 4th exceptionally)
At 10:14 the second (shorter) C# is tied and should not be played!
Absolutely so!👍
(Unless you are informed about various editions and versions of the piece 😂)
Hi Denis, I would love to hear your thoughts on Horowitz's comment about Chopin's music: "In the paper, he was never weak". It is on his interviews with David Dubal. Thanks for such a complete and sophisticated summary on Chopin's style. Best regards from Brazil, Fernando Vago
Yes, his music is very powerful, but, always in a noble way!
Loved this video, I subscribed :)
Thanks for subbing!
Hi Denis,
Lovely video as always! What are you using to read your music? That doesn’t look like an iPad. ❤
Ipad indeed. Maybe a bit old though
I love your explanations and I think your technical approach and explanations are exactly right. One question: You play often with really short staccati, which to me always sounds a little like a hiccup. I often hear this with pianists (my main instrument is viola, but I am also a professional accompanist), and it always surprises me. Would you consider adding a little length to these notes for tone or would that be considered bad technique?
It’s a matter of taste, tradition, and depends on situation. I believe that piano, unlike viola, has a great percussive potential, and can and should exploit it as well.
I often play staccati not too shortly, but since I have a very clear idea about what I want to express in any given piece or spot, I’d say if there is a spot where they are very short, it is very much on purpose.
Yes, people have so different and unexpected responses to things that are so common and seemingly mundane, it’s amazing. Once I had an experiment with a group of people asking them for their associations response to different pieces. There always was someone who would find a tragic piece funny, and a festive piece angry. Hilarious!
What are your thoughts on the 1st scherzo, or the 2nd sonata or even the revolutionary etudes as they portray terror and violence? I recall reading of a student who knew of Chopin's distain for piano smashing and he played chords/coda of the 1st scherzo with reservation. Chopin looked at him and told him to unleash. Essentially implying, if you have the power and strength, use it when it's called for.
I’d say there is a clear difference between a hesitant reservation and noble force. Even a person without any musical background can recognize when a player is afraid to project or tense.
Denis could you please give a tip on how to play the trilled appogiatura in the Polonaise in A flat… thank you
Take the lowest note of RH in the LH, as suggested in the Ekier Edition.
What piano are you playing? It sounds beautiful!
Denis, do you do private online lessons? I have a unique problem, which means i can no longer read notation, and although i can play some pieces, i really could do with some help. Any suggestions would be appreciated.
About playing forte in Chopin, as you said it doesn't have to be that forte. I remember something Polish pianist and UA-camr Greg Niemczuk, who has uploaded analyses of all Chopin pieces, said. He states that after his performance of the Op.25 no 9 etude, a critic complained that he had destroyed the delicacy of the "butterfly". So, one thing Greg claims is that Chopin uses forte very rarely, so when he does it he means it. But of course, Greg doesn't mean to play it bombastically.
I think one of the ideas behind Romanticism and Chopin is to play always different, depending how you feel. If Chopin would be suddenly cured and treated with an injection of Testosterone he would maybe adapt the style. So we are allowed to play adapting to 2024 and who we are. He would have understood. I like more the sweetness but i think also this.
This "nobility" topic, and never being "brutal" is one that's perplexed me for awhile. Indeed, Chopin reportedly would tell his students to never "bark". But some of my favorite pianists and interpretations of Chopin's works certainly seem to have their brutal/barking moments (and I personally find it satisfying!). For example, Horowitz with the heroic polonaise. Or Richter and Hofmann with the 4th ballade coda. Would you disagree with those interpretations?
Great question!
Ambiguous! I myself sometimes go wild when playing in big halls in pieces like this, and in my early 20s played definitely a lot with a straightforward sound much. So yeah I advocate for a rule, which I break sometimes, as many do.
Another open question is whether Chopin himself would actually want this violence sometimes as a composer, despite the fact he wasn’t able to produce it as a pianist. But looking at his pieces, I tend to think that a rough approach wasn’t his credo.
@@DenZhdanovPianist Heh well there is also the famous story of the student who broke Chopin’s piano string, and apologized, to which Chopin replied “if I had your strength, there would be no strings left on the piano!”
His pieces are so dramatic and emotional they are begging to be played with some power, I honestly find the restrained playing of his pieces that is the norm today completely boring.
@@DenZhdanovPianist
Chopin admired how Liszt played his pieces. On the one hand, that says to me there are allowances and freedom in the music. On the other hand, it would be interesting to know how Liszt perceived Chopin’s music. Let’s keep in mind that pianist in that time prepared themselves differently.
Hello, how are you, a question :(, what happens is that a couple of months ago I suffered tendonitis in my arm and forearm, precisely due to poor technique and other reasons. Now I am resuming and correcting many things, but in the same way they enter doubts as I watch various videos on piano technique. For example, do I always use the weight of my arm because when I feel like I am using it, I feel my finger or hand with a little tension just from carrying the weight, so not always. Is the weight of the arm used? Or what? :(. I also remembered that when I played, the thing of "scratching" the keys happened to me many times, and I have always wondered why. I had a teacher who told me that the knuckles always They must stand out, and sometimes by forcing them to always stand out, I feel like I'm putting on tension. And the truth is I don't know which way to go, sometimes I feel like I'm playing well, without tension, and then boom, a little pain or fatigue in it. forearm. And the truth is I don't know if I can play the pieces that I loved so much again, I don't know if anyone after my injury can play well again :(. Thank you so much
Hi Bryan,
I am sorry to hear about your hand issues, and you have my fullest compassion! Unfortunately, it takes usually multiple months to recover, and the most important is not to push yourself, by playing not much and with good breaks between sessions.
There are many universal aspects of piano technique, but many things are also individual, and I would suggest you to find a teacher who has an extensive knowledge about physiology and safety of piano playing. Taubman method specialists in this regard are usually pretty good. Quick fatigue is inevitable after injury, just respect and accept the current limitations and make decent breaks! The usage of the arm weight is necessary, but often people overthink it, by applying too much pressure on the keys, so try to be firm in touch but also very light, and remember that after an initial strike you can instantly offload most of the tension while holding a note.
@@DenZhdanovPianist Thank you very much for the recommendations :'D, I hope to be able to play again
11:01 sneaky sneaky🤫
Hello dear Denis you play brilliantli ans you are making so valuable explanation I wish I was able to play this piece🙏🙏🙏! I submit 2 mail to you dear Denis for personalized piano course I am looking forward so much to hear from you!! 🙏🌺💐🍀You remember may be, I had carpal tunnel on my wrist. I had 2 injections and my wrist and fingers are quite well now. I use robber band and rober stress bolls for my broken finger it works almost very well now with a little bit time delay but it improves everyday😊🙏👍🏻🍀🍀🍀I sent you my web sit's adress but I ihave mproved my playing quite a bit since I made those videos. They dont represent my current playing. I play chopin balade g minor nowdays but since I did not play for 23 years I play awful I think. I applied for your course twice-fist one was last week- but have not got any answer from you yet. Please let me now if you cant give course to me.. ..I have been looking forward so much to be able to get piano course from you🙏🍀💐🌺🌟Hoping to hear from you soon dear Denis Thank you very much in advance🙏💐🌺🍀💐🌺
Very helpful! Question: How do you (Denis or followers) feel about Artur Rubinstein playing the big chords to the point of lifting himself off the bench? (please correct me if i'm wrong) Thanks!
That’s surely epic and artistically effective, although from the technical standpoint not very necessary, players of such caliber are able to provide a huge sound not moving a body much
It reminds me of Yunchan Lim's body language during his brilliant performance of Rachmaninov concerto nr 3 (Cliburn competition) where he graciously lift his left food/leg several times when playing the final chords towards the end. An epic performance!
I heard old Rubinstein's recitals several times: his enthusiasm and sheer joy to share music with his public was fabulous, with a sort of complicity like between old friends; his public adored him, and I think his body attitude, his smiles overtly directed to us as well as the jumps were (one of) the possible reasons answering to your question.
And I assure you that his playing was immaculate, brillant, creative, all Music!
Oh to have larger hands 😔
Sorry Denis, you won’t get any feedback from me, apart from saying you are an amazing pianist, and I never get tired of watching those fingers at work . ❤