10. Dec 4, 2015 - https://music.apple.com/ru/album/fr%C3%A9d%C3%A9ric-chopin-24-etudes/1505745157?l=en Here she takes on some real standards, the 24 Chopin Etudes, Op. 10, No. One would wonder of course why so many composers took the effort of giving metronome indications for so many works? When pointing to that discrepancy, the discussion changes to a common “believe” that metronome numbers were certainly not meant to be reached, or even to be taken seriously. More than one perhaps would think. There is a weird approach to metronome numbers today. 25, and a set of three without opus number. Catalogue No: … 2 in a minor and more). Genre: Classical. And secondly, it is an argument that simply is absurd if only taken into account the tens of thousands of metronome numbers we have, only from the first half of the 19th century. 25, No. Year Of Release: 2014. Browse: Chopin - Étude Op. Of course, a metronome marking does not give us information on the touch, on the delicacy for which Chopin was unmatched. About. Let me again give you my performance here: In the two other performances, there is still a kind of accent at the opening runs, more in Pollini’s version than in Lisitsa’s, but where the two hands go together, all accents disappear, click here to listen. Analysis 1 in C major This page lists all recordings of Étude Op. Try Let’s listen again. Pachelbel Hexachordum Apollinis - LP/CD/FLAC/MP3/MP4, Pachelbel Vinyl Disc n°1 - 10 - Collector's Items, Wim Winters plays Organ Works of J.S.Bach. Think about this. Since one can have a debate on the reading of metronome numbers –that is not too difficult to have- but looking to “mainstream” performances often showcase problems that might form stronger cases for the other “truth” than one at first would think. But as we’ve often pointed out, those recordings reflect a performance practice of the late 19th century, not  that of Chopin’s time. Reason is the accent on every first note after each jump, but seen this tempo –remember : still too slow according to Chopin!- there is no time for a counter accent on the structural notes of the bar, shifting the bar structure to one 8th later, falling back – shockingly- on the first beat of bar 7. It is remarkable that so many even legendary recordings share the same issue, since it is in fact a basic mistake. Chopin, Schumann - Etudes - Valentina Lisitsa, Classical Music, Classical MP3 download, Classical Music Downloads - Download music compositions from legal, well-ordered mp3 content web-site … In order to make technically possible what is happening in the left hand and still give a little bit of room in the right hand, both performances have in fact a lot of sudden tempo shifts. 1 in A flat major "Aeolian Harp": Allegro sostenuto, No. Also Chopin. 10 and Op. Unfortunately, there are no recordings made from Chopin’s playing. The Études by Frédéric Chopin are three sets of études (solo studies) for the piano published during the 1830s. The Chopin Études run the gambit of emotion from whimsiical to sad to tragic and peaceful to stately to military. We’re just got used to it so much in the case of this etude that we don’t feel the disturbances of it any more. Firstly, you will not find one single source in the complete 19th century to back you up for that. Valentina Lisitsa (piano) Lisitsa pulls off the technical high jinks of Chopin's etudes with fleet fingerwork, though they don't sound enough like musical poems. Listen to Carl Mikuli, one of his most known students and I quote: “In keeping time Chopin was inflexible, and many will be surprised to learn that the metronome never left his piano. Étude Op. Listen to Chopin: 12 Etudes, Op.10-No.3 In E Major-"Tristesse" by Valentina Lisitsa, 3,064 Shazams, featuring on Valentina Lisitsa Essentials Apple Music playlist. "Wonderful, dressed only in her nighty!" Ihre Online-Videos erreichen zusammen über 80 Millionen Klicks und 150.000 Follower. Jul 30, 2012 - https://music.apple.com/us/album/fr%C3%A9d%C3%A9ric-chopin-24-etudes/1505745157 Frédéric Chopin 24 Etudes, a classical music Album by Valentina Lisitsa. So, could it be possible that my tempo is “correct” and current “mainstream” performances too slow according to what generally is considered to be Chopin’s wish? 10. If you would compare dozens of allegro’s from Beethoven to Chopin, in similar notations as this etude, you will see that an allegro always will be around half  = 80, and that half  = 60 is preserved for more moderate tempi. According to the booklet notes, the Chopin etude performances of Alfred Cortot served Lisitsa as a reference point. And 25% above the tempo I’ve taken. Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube. 25, and the technically even more perilous Symphonic Etudes, Op. But, I believe truly that when Chopin would return for a moment, we would be inspired but perhaps even in a shock. Play as much music as you want on your computer, mobile or home audio system. 10 No. How solid is that as an argument? The Internet has propelled her to a spot on the roster of the major Decca label, and she has played mostly mainstream Romantic repertory with a diversion, on her last release prior to this one, into the piano music of Michael Nyman. Valentina Lisitsa: Études. Leaving out these accents result in a rather confusing rhythmical situation, a problem that all performances share, where the first low C is felt as being out of time. — BBC Music Magazine, February 2015, Release Date: 10th Nov 2014. Even in his oft-decried Tempo Rubato one hand – that having the accompaniment- always played on in strict time.”. At one hand those original Metronome Markings are taken as to “proof” a performance like the one I made is too slow. 10 no. Her set of Chopin etudes reached the number-one slot on Amazon's list of classical video recordings, and became the most-viewed online collection of Chopin etudes on YouTube. 13, of Schumann, rendered with five extra variations in the middle excised by Schumann from the work and published posthumously (the work is essentially a set of variations that spills over its boundaries, something like the Diabelli Variations, Op. Since changing a tempo, changes all other layers of that performance: character of the piece, articulation, phrasing, timing, touch and so on. Check out similar artists on Napster. According to the booklet notes, the Chopin etude performances of Alfred Cortot served Lisitsa as a reference point. 1 in C major by Frédéric François Chopin (1810-49). V. Lisitsa’s and M.Pollini’s Chopin Etude opus 10 n°12, Frédéric Chopin, Etude C#Minor, opus 10 nr.4 in Chopin’s Original Tempo. Both performances share similar tempi, as most performances of this piece do today. It is shown to you at the beginning of my video, click here to listen. Indeed, a performance tells more than a score and certainly in the case of music written by the greatest musicians, a lot of detailed information on the true meaning of their music would be revealed if brought to life under their own fingers. Now, certainly after listening to my performance, the technical impressions you get from both performances is rather impressive. According to the booklet notes, the Chopin etude performances of Alfred Cortot served … 11 (Variation 9): Andante espressivo. Thanks to the invention of the metronome in 1815, it became possible for composers to accurately note the exact speeds in which they themselves performed their music. Ukraine-to-North Carolina transplant Valentina Lisitsa has gained tremendous popularity by using YouTube (75 million views and counting) to market her music. 12 "Ocean Etude" https://music.apple.com/ca/album/fr%C3%A9d%C3%A9ric-chopin-24-etudes/1505745157 - Chopin Etude No. That’s about 20 to 25% below Chopin’s indication. To advance her career, in 2010 Lisitsa and her husband put their life savings into recording a CD of Rachmaninoff concertos with the London Symphony Orchestra. For the record: I am not criticizing their performances in any way. Hmm. Do you like this album? Their performances are given here only as a kind of reference of what positively could be called “mainstream” performances of this piece. That first C, so important to reinforce the feel of the tempo and the bar structure, comes in both performances mathematically on time, but according to our rhythmical feeling the C comes one 8th note too early. 9 in G flat major "Butterfly": Allegro vivace, No. Account & Lists Account Returns & Orders. See more ideas about pianist, classical music, music. Her performances don't really sound like Cortot's beyond a somewhat idiosyncratic quality; Cortot's readings apparently caused Rachmaninov to laugh so hard that his false teeth fell out, and it's hard to imagine that happening here. Stream ad-free or purchase CD's and MP3s now on Amazon.co.uk. V. Lisitsa’s and M.Pollini’s Chopin Etude opus 10 n°12. But the speed, the tempo of a performance does tell us a lot on the basis of his way of playing. 1 in C Major, Etude Op. It was first published in 1833 in France, Germany, and England as the first piece of his Études Op. Yet, the tempi they take, are far below what Chopin prescribes to be the basis or the basic tempo for this etude. Regardless of Chopin’s own number, and regardless of the discussion on single or double beat,  4th = 120 or half note = 60 is almost by definition too slow for an allegro piece. Wouldn’t we all love to hear Chopin play his own works…. Jul 17, 2012 - Valentina Lisitsa plays Chopin Etude Op. As with many metronome numbers like these, if taken literally, as is common practice today, this etude is rarely if ever heard in the tempo of 4th = 160. The same strengths apply in the Chopin, where her left hand doesn't flag in the workout it receives. Following her recent well-received Michael Nyman recording Chasing Pianos, Valentina now turns her attention to the Romantic Era and the Études of Chopin and Schumann. The Schumann fits Lisitsa's strengths; she has formidable technique in passagework and is exceptionally skilled at bringing out the kind of inner counterpoint that the Symphonic Etudes are all about. 25 No. The way he played the piano will remain for always reduced to the descriptions of contemporaries. Certainly on the field of tempo, it is very well documented that performance speeds increased from around 1840 onward, where, even for those 19th century musicians who still were aware of a certain tradition, it was not even an option to keep those old habits alive over that what was considered to be new, better even and a result of an ever ongoing “progress”. Rubato a solution when it’s going too fast? 10 (Variation 8): Allegro con energia, Etude No. 12 in C minor "Ocean": Allegro molto con fuoco, Etude No. And by the way: just holding notes randomly for sake of creating time in the other hand is by definition confusing to the listener and to avoid at all costs. The ‘proof’ of Metronome Marks only goes in one direction today. Both players fly around a speed of quarter note = 120 to 126. Find release reviews and credits for Études: Chopin, Schumann - Valentina Lisitsa on AllMusic - 2014 - Ukraine-to-North Carolina transplant Valentina… No one should say that Lisitsa is merely an Internet phenomenon; more like her, taking the music directly to potential listeners through contemporary media, are sorely needed. This kind of rubato is for Chopin stylistically undocumented. 8 (Variation 7): Sempre marcatissimo, Etude No. As I am convinced that also Frédéric Chopin used the historical metrical readings for his metronome numbers, where every tick equals only half of the intended note value, I play this etude, indicated by Chopin as quarter note 160, in eigth note 160, which is exactly what this metronome number meant in those days. For instance, Chopin wants to have clear accents on each quarter note, certainly in the runs of the first two lines. The burden of “proof” therefore is on the shoulders of the “single beat” defenders, and not of ours. So if we start from the speed indication Chopin gave : quarter note  = 160, we can safely state that my performance does perfectly match the ticks of the metronome. We can touch upon several other aspects, but let’s finish by the way tempo is threatened in both performances. If we look at the beginning, those runs are difficult to give a deep, accentuated sound, even in double beat, the runs need to be played with full sound, but this aspect here is more difficult than for instance in his etude in C sharp minor where the fingers of the hand remain closer to each other. Both Valentina Lisitsa and Maurizio Pollini are brilliant performers that do not need any comment nor advice from me. The American music critic James Huneker compared the "hypnotic charm" that these "dizzy … So historically speaking, we are here in no man’s land…. Valentina Lisitsa ist eine bemerkenswerte Pianistin, die zu den größten YouTube Stars der Klassik zählt. Listen free to Valentina Lisitsa – Frédéric Chopin 24 Etudes (Etude Op. Let me now give you a short excerpt from both Lisitsa and Pollini. 10 and Op. All those metronome marks were meant to be played, they were accurate, precise tempo indications. Valentina Lisitsa plays all with the energy, clarity, … For sure, if Chopin would return only for one hour to play his famous Revolutionary etude in C Minor, the least you could say is that we all would be inspired by what we heard. They could have saved lots of hours by just asking the player to play as fast as possible, the more since so many of their speed indications are- again read literally- no less than warp speed. We DO play TOO FAST: The 1816 “Maelzel” Metronome Directions explained, Too Slow? There is not a single word here meant to be taken against their performances. Quality: 24bit-96kHz … Check out Chopin: 12 Etudes, Op.25 - No.3 In F Major by Valentina Lisitsa on Amazon Music. But the same numbers will never be taken as a “proof” to the other side, to show that, according at least to Chopin, performances like the ones of Lisitsa and Pollini are too slow. So again, both Valentina Lisitsa and Maurizio Pollini are truly great pianists and musicians. Frédéric Chopin, Etude C#Minor, opus 10 nr.4 in Chopin’s Original T... Chopin’s Unique Tribute to Bach: his Etude in C Major, YES!!! 12 in C minor "Revolutionary": Allegro con fuoco, No. Chopin : Études - Schumann : Etudes symphoniques | Various Composers by Valentina Lisitsa – Download and listen to the album Featured peformers: Valentina Lisitsa (piano). BIOGRAPHY, SEASON 2019/2020. 120, of Beethoven). Furthermore, Chopin gives a normal allegro speed for what –obviously- is an allegro movement. Showing 81 - 90 of 190 results 4 (Variation 3): Allegro marcato, Etude No. But even if he wasn’t, it is a too far stretched argument that those extremely fast tempi never were meant to be played. Another problem according to the score is the use of the pedal. 1 (Variation 1): Un poco più vivo, Etude No. So let’s have a look at two performances given by extremely talented players. Hello, Sign in. Discover more music, concerts, videos, and pictures with the largest catalogue online at Last.fm. Let’s compare my version with two brilliant “mainstream” performances, one by Valentina Lisitsa and another by Maurizio Pollini and see what we can learn. Jul 1, 2013 - https://music.apple.com/us/album/fr%C3%A9d%C3%A9ric-chopin-24-etudes/1505745157 And also about the fact that in the way I see this problem solved, I’m able to perform a 100% of ALL metronome numbers. An interesting chapter in a unique contemporary pianistic career. Jan 22, 2014 - Explore Cody Chan's board "Valentina lisitsa" on Pinterest. 9 in G-flat major, known as the Butterfly étude, is an étude by Frédéric Chopin.The title Butterfly was not given by Chopin (as is true for all Chopin pieces with such titles); however Arthur Friedheim said, "while some titles were superfluous, this one is inadequate.". 1 in C major, known as the Waterfall étude, is a study for solo piano composed by Frédéric Chopin in 1829. There are twenty-seven compositions overall, comprising two separate collections of twelve, numbered Op. Lisitsa’s and M.Pollini’s Chopin Etude opus 10 n°12. Often references are made to the early 20th century recordings by pianists who could be considered to be second generation students of Chopin to hear at least echos of Chopin’s own playing. After all, what would good musicians like Beethoven of Chopin care about the metronome? Diving more into detail in the score, we see also tiny little problems, that at first escape our attention, but point to important deviations of Chopin’s own indications. If rubato in Chopin’s work in general might be up for some more detailed discussion, in this, strong rhythmical etude, there is in fact no doubt that it was supposed to be played strictly in time. Just spent 10 minutes on google book search and you quickly learn how serious composers were in exactly indicating their pieces with the utmost precise tempi they considered to be ideal. Label: Decca. This study in reach and arpeggios focuses on stretching the fingers of the right hand. Only this aspect must make us rethink the original tempi Chopin had in mind. But even this “simple” allegro seems to be far out of reach for two virtuoso players with a perfectly accomplished technique! Is Pollini’s Chopin Etude Opus 10 no 9 too slow. The left hand in both cases is often paused at the very last note to give time to the right hand to try to sing, but see how strange this is ones you know it, for instance here in bar 61 and 64. Don't believe everything you read in … No. In a much higher tempo than Chopin envisioned, giving each 16th note its own weight and time to sound, this becomes impossible, what is proven in both performances: both players use the pedal almost constantly and need to use it during the complete runs, to help build the sound. Étude Op. Classical Music | HD & Vinyl. Title: Chopin & Schumann: Etudes. The fingers alone have not enough time to stay long enough on the keys to create this on their own. Released in 2020. 10 No. But in the light of the unrealizable dream or wish we all share to hear Chopin play with our own ears, it is remarkable that the most valuable information on his performances is often rejected completely. Her performances don't really sound like Cortot's beyond a somewhat idiosyncratic quality; Cortot's readings apparently caused Rachmaninov to laugh so hard that his false teeth fell out, and it's hard to imagine that happening here. 24 tracks (58:26). Valentina Lisitsa is not only the first «YouTube star» of classical music; more importantly, she is the first classical artist to have converted her internet success into a global concert career in the principal venues of Europe, the USA, South America and Asia. A few days ago, I have uploaded my version of the famous Chopin etude opus 10 nr 12 in C Minor, the so-called Revolutionary etude. There's nothing terribly poetic about Lisitsa's performance, but there's no denying that she's on top of the music and that the physicality she has brought to it on the Internet is present. Accentuation by Chopin: important or not? 10 no. A few days ago, I have uploaded my version of the famous Chopin etude opus 10 nr 12 in C Minor, the so-called Revolutionary etude. Chopin was known for his use of pedal and he was on the edge of paranoia to his editors for exactly copying his pedal markings. Artist: Valentina Lisitsa.