It’s like the heartbeat of a teenager walking back home while looking at the varying scenery along the road: a blue and smiling river under a curved stone bridge, a tiny dollar store stuffed with kids and snacks and colors, a quiet road that some stray cats own, the someone that locked your heart with their only key, and sunlight waltzing in and out the scene.
I first came to this Etude as a youngster when I saw a Russian (or Soviet) film of the Chekhov story "The Lady with the Dog", in which the sound of a piano is wafting down from an open window to a courtyard below. I made up my mind immediately to learn it. I have always associated the piece with that scene from the Chekhov tale ever since! Rubinstein never made any studio recordings of Op. 10 or Op. 25 as far as I know; there exists only the studio recording(s) of the Trois nouvelles études. He rarely played the etudes in his recitals except as encores, I believe. There are some impressive videos of him performing in concert Op. 10, no. 4; the "Black Key", Op. 10, no. 5; the "Aeolian Harp", Op. 25, no. 1, and I believe the "Winter Wind", Op. 25, no. 11, as well as this E minor from Op. 25, which is played with his usual panache. The Thalberg-like E major section is beautifully done.
I heard him play this etude as part of a set of four or five that that were part of the printed program, in December 1972. The audience reacted like he was hitting wrong notes.
The tempi are the wrong way round - slower for the outer sections and faster for the central episode. He did the same thing in London in June 1971 at the Festival Hall where I was fortunate to be present on a returned ticket.
***** But Rubinstein was much less whiffy (I hope)! I am sure he had a copious dinner somewhere after this recital, including some Dutch cheese -- the best, as you know! :-P
at the .052 you hear what is for Chopin an almost non-melody. These notes, 6 and 5 in the scale create a harmonic suspense (6) which resolves to 5. Probably this is lost in the recording. It is delicious. But here, it sounds like he is demonstrating to a class the importance of this 6-5 by over-emphazing it. As a lover of Bach and polyphony and harmony in equal weight, it seems dubious Chopin would choose to emphasize this line as 'melody'.
I did not like his playing this Etude. He did not played well the appogiatura from the 1st part neither the last section. However the middle section was very beautiful.
It’s like the heartbeat of a teenager walking back home while looking at the varying scenery along the road: a blue and smiling river under a curved stone bridge, a tiny dollar store stuffed with kids and snacks and colors, a quiet road that some stray cats own, the someone that locked your heart with their only key, and sunlight waltzing in and out the scene.
FINALLY THE RIGHT TEMPO FOR ME. I thought I would never find it.
This etude is made of 2 parts...
An external nutshell (quite rough) and an internal nut of infinite beauty...
The 'external shell' also isn't without its infinite beauty.
Vo Ro amazing interpretation
I first came to this Etude as a youngster when I saw a Russian (or Soviet) film of the Chekhov story "The Lady with the Dog", in which the sound of a piano is wafting down from an open window to a courtyard below. I made up my mind immediately to learn it. I have always associated the piece with that scene from the Chekhov tale ever since! Rubinstein never made any studio recordings of Op. 10 or Op. 25 as far as I know; there exists only the studio recording(s) of the Trois nouvelles études. He rarely played the etudes in his recitals except as encores, I believe. There are some impressive videos of him performing in concert Op. 10, no. 4; the "Black Key", Op. 10, no. 5; the "Aeolian Harp", Op. 25, no. 1, and I believe the "Winter Wind", Op. 25, no. 11, as well as this E minor from Op. 25, which is played with his usual panache. The Thalberg-like E major section is beautifully done.
I heard him play this etude as part of a set of four or five that that were part of the printed program, in December 1972. The audience reacted like he was hitting wrong notes.
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r/im14andthisisdeep
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Good sound, like a professional broadcast. Perhaps there is more?
Hmm I prefer a faster first section and slower middle
I love the coughing in the background.............some people!
THIS IS THE ONLY VERSION I CARE TO HEAR.
The tempi are the wrong way round - slower for the outer sections and faster for the central episode. He did the same thing in London in June 1971 at the Festival Hall where I was fortunate to be present on a returned ticket.
Like cheese...mature is lovely:-)
***** But Rubinstein was much less whiffy (I hope)!
I am sure he had a copious dinner somewhere after this recital, including some Dutch cheese -- the best, as you know! :-P
at the .052 you hear what is for Chopin an almost non-melody. These notes, 6 and 5 in the scale create a harmonic suspense (6) which resolves to 5. Probably this is lost in the recording. It is delicious. But here, it sounds like he is demonstrating to a class the importance of this 6-5 by over-emphazing it. As a lover of Bach and polyphony and harmony in equal weight, it seems dubious Chopin would choose to emphasize this line as 'melody'.
What is " .052 "?
Woof!!!
לא יבגוד איש במלך ובנו. לאחר הגאולה ולא יהיה משיח שקר בארץ. וכולם יכבדוהם ויאהבון.
I did not like his playing this Etude.
He did not played well the appogiatura from
the 1st part neither the last section.
However the middle section was very
beautiful.
I prefer the Dinu Lipatti performance