F. Chopin - Etude Op. 10 no. 6 in E flat minor - analysis - Greg Niemczuk's lecture
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- Опубликовано: 17 окт 2024
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Concert pianist describes and analizes Chopin's Masterpieces for the piano.
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first time heard this etude(in a slow tempo) I instantly got an image of a young man coming back to his homeland village, town or a city and finding it completely destroyed! as he walks he looks around the burned down buildings remembering the happy years spent in these place while it slowly fades away into suffering of war and destruction. This is probably one of my biggest fears. words will never be able to express such a mourning.
So beautiful Kakhi! ....
It is difficult to conceive an elegy more severe and sober than this study.
It's hard for me to accept its 'real' tempo (which is actually a shocking fact) because of the infinite number of times I've been listening to it at a "slow" tempo since I was a kid...
I can say that I love it in any tempo..
Thank you for the analysis... you always carry interesting ideas within your description and analysis
I respect and understand your words. Do listen to Murray Perahia please...
Beautiful lesson! Not all musicians know how to express in natural language, with words, the various meanings of a musical piece, and this, evoking a further art, interwoven with a small dose of theatricality. 👏
🎼🌿🌻
Greg I haven’t been this shocked in a while. Your explanation that Chopin wrote the accompaniment the way he did to keep you from cheating with the pedal really fascinates me. I usually do not like pieces without pedal - I don’t find them as moving usually - but Chopin’s genius allows it to be not as moving as with pedal but even more moving. Your analyses brought my eye to this brilliant technique in this etude and prelude no 13.
Thank you so much! I was also shocked with this etude!
You gave me a new Chopin piece. Thank you so much. What a beautiful piece of music, highlighting the deepest feelings of Chopin. Great analysis -- it definitely should not be played too slowly❤
Thank you! I'm happy to hear that!
I love this Etude and your wonderful analysis of it. I’m going to read through it tomorrow for the first time. Inspiring!❤
Each video you post provides me with so much insight and knowledge. I love your videos so much, keep it up
So good to hear that!
I wish to add a comment which I made in the Polish language version by mistake, regarding this really unique and beautiful study: I would just like to voice a thought about this remarkable and unique piece of music. I refer in particular to the fascinating "lilt" - if I may call it that - in the accompaniment of the left hand, and in part B of the right hand. When we look at the accompaniment figures typical of piano sonatas in the classical period we will invariably find them comprising the tonic, thirds and fifths, e.g. in c major that would be alternating between c, g and e the usual way. When I hear this beautiful study the accompaniment does none such thing - and really why should it, because the piece is a study and not a sonata. What I am aiming at is this: if you play the accompaniment notes of a classical sonata together, you have - in the above example - a c major chord. Now play the accompanying notes of just one bar of Chopin's Etude Op. 10, No. 6, together. I think you will find we have something that was used very many years later in music, namely what we today call a "cluster!" At any rate an endlessly fascinating piece of music!
Beautiful, inspiring and touching. thank you.
Deeply touching and confessing analysis !!! A unique sample of solid and absolute knowledge of the score and what is hidden "behind" the score !!! A composition, evidently created in depressive moments of the composer, making direct appeal to an overwhelming sorrow transmitted to you, Mo Niemczuk and your audience, also! The original tempo adopted by you, is to be regarded as "personal patent" of your own, despite any contemporary theory on the original "slower tempo" of music in the xix century. What you suggest, absolutely gives this "disregarded" Etude a new identity and consideration !!! I feel so grateful to you !!!
Beautifully played on the piano panie Grzesiu!
SO WONDERFUL AS ALWAYS, MAESTRO!!!!! Thank you for one of my favourite Chopin's Etudes in an excellent rendition and for your great analysis/tutorial, again my best regards, have a Happy New Year 2022. Joanna
Thank you so much!!......💔💔💔
Thank you for opening my mind for this wonderful masterpiece. P.Helling
Thank you very much
I love the original tempo you suggest, it makes so much more sense musically! This is one etude that I also didn't like when I was younger, but now find it to be one of my favorites. There really is nothing like Chopin!
Thank you so much!! I totally agree
Добрый вечер Мр. Грег,в сегодняшнем исполнении я узнала что левая рука несмотря что она аккомпонимент тоже помогла правому руку и в основном по-моему как показать этого Этюда, проста иногда я услышала как участвовала левая рука, All was greatest!
What a revelation maestro. I certainly wasnt shocked, as I had never heard this etude before. At the start I thought the tempo was like a practice one. I only have one doubth maestro: Do you use the left pedal?
And if its the case, How do you use it?
Now I have deceided to study this piece for an exam, I really liked it, its so inmersive, and I want to make justice with history. Looking to make Chopin happy, jeje.
Thank you a lot maestro for this ilustrating channel and such a valuable videos!
First, pozdrawiam! Second, I would just like to say, thank you for your video and in depth analysis of this piece. As a pianist myself (who is also Polish :D) and as a student who has to analyze this piece for class, this analysis that you provided for us has literally helped me to really understand this piece in its entirety! Also, after watching your video, I cannot stand at all the slow tempos anymore :D Anyway, thank you so much for this video! Pozdrawiam i dziekuje! :)
Ale Super!!!!
I'm fulfilled reading such comments. Dziękuję!!! Powodzenia!
What a revelation! So humble and beautiful. Now I hate all those so slow versions too! How is it possible , and so many pianists are wrong. After hearing your rendition it's obviously the right tempo.... Thank you for that. You are wonderful. Your understanding of Chopin's music is amazing.
Do you know a book about the etudes in french by Jean Pierre Marty : Vingt-quatre leçons avec Chopin( editions Singulières). It's a virtual ( of course) conversation between Chopin and one of his student about his etudes , a very interesting one. I don't know if it was translated in english. Greetings from France.
Merci! No, I don't know this book but it sounds so interesting!
Yes, probably ONLY great Murray Perahia was courageous enough to record this Etude in the tempo very close to the original. I strongly recommend this recording!
This is very interesting the tempo point. There are other pieces difformed by legions of pianists, Mazeppa from Liszt for instance is one of them, unfortunately, Leslie Howard said Mazeppa was "playground for musical delinquance".
The Godowsky version of it (étude 13) is absolutely wonderful, in ways more interesting than the orginal.
There are several elements of J.S. Bach and baroque era. Greg, do you see links with the 10th prelude (BWV 855) ?
Yes, there are links indeed! Thank you for this point!
I feel like the slower tempo is more appropriate when you are trying to fit the piece into a larger program of "revolutionary music." When it comes to food, there is nothing I hate more than fixed multi-course menus where I have no choice and am supposed to go on the "culinary journey" that the chef has set out for me. But in piano programs I can appreciate the intellectual journey because of my more robust musical palate. Greg, if I gave you 25 minutes to choose a program in the theme of "Portrait of a Doomed Revolutionary" what pieces would you pick? I would start with Knight of the Hobby Horse from Kinderszenen and Chopin's Revolutionary Etude and end with this Chopin etude and Ravel's Le Gibet from Gaspard De La Nuit. An important element of playing that program would the arc of the tempos throughout the four works and the slower tempo would fit far better. My global argument is that liberty in the choice of tempo, while absolutely violating the core principle of being faithful to a composer's markings, may be defensible in the realm of integrated performance.
I tried playing at something like the listed tempo and my teacher was not pleased with it. She's old school (trained at the Franz Liszt academy in Budapest in the 40s). That said, the tempo does make it more challenging as an etude than the usual Adagio or Largo that even Cortot uses.
I don't know if my way of playing the 3 sentences of the main melody makes sense, but the first time, I keep to the written P and even where it's marked F at the octave jump, I keep it restrained. Then the second time I open it up more, louder. After the b section, I use the una corda (My Bechstein's sweetest color) to make it seem more...distant...as if the suffering is somewhat past. Only at the brief foray into A in the coda do I let the una corda up for a brighter feeling.
Many pianists don't play the 32nd notes in the repeated passages in the coda, but as 16th notes matching the bass figures. For me, the music almost comes to a stop 3 times with those notes pushing it back to life, each time more urgently.
As to the various accents in the melody, I use them less as dynamic than as metrical markings. So where there's an accent, again at the octave jump in particular, I think of it more as a sign to delay that upper note slightly after the downbeat, not to just make it louder.
Hi Brian. Yes, that's the problem.... And my open question is..why??? Because one or another pianist decided to record this piece in slower tempo everyone wants to play the same not respecting Chopin's score thinking that he was stupid.... I tried to convince the world that the singing line of this etude sounds much better in Chopin's tempo. But it's much more difficult to play. Well.... Every piece of Chopin sounds beautiful in slower tempo.... But should we played every piece slower? That's open question.
Wow!!
From the very fist time I heard previous recordings of this piece I knew something was wrong. As it was too slow, it lost its true purpose as an etude. I loved Martha Goldstein's interpretation as it was slightly faster than all others. But this, now this is how the piece should be. The piece is alive, all of a sudden. Greg, This was really shocking!! The time you played it, I laughed as I didn't know what to make of it, but it made sense as you explained. This piece is one of the best ever!!! So Amazing!!
YES!!!! But one has to be really brave to play it like this. At least I know that Chopin himself is backing me up as well!!! ☺️☺️☺️☺️☺️
Couldn't agree more.👌🏽 Chopin is proud, I'm certain.
I'm loving all the etudes analysis of course, as always, but i'm really shocked about this one, Op.10 No.6... I already like it before, in the slow tempo, but now it really makes so much more sense. I checked my score, and omg, amazing... Hahaha. I wonder how amazing would it be if someone play like this in the Chopin Competition.
Indeed!! What would the jury say??
Thank you very much Greg for this once more marvelous analysis of this etude. Once more you prove your deep knowledge of and love to Chopin‘s music.
Maybe you know that there is a study by Leopold Godowsky to this etude for the left hand, very difficult to play and even in a higher tempo, like you mentioned it in your video.
If you are interested you find a recording by Marc-André Hamelin on RUclips.
I am a enthustiastic viewer of your contributions to understand Chopin‘s unique compositions.
Oh yes, I do know Godovsky! It's very interesting!
this channel is treasure
Sorry!!! I'm using Jan Ekier National Polish Edition!!
@@gregniemczuk Thank you very much. much love from Morocco 🤍.
Where u find that original tempo or Mark by Chopin?
In the Ekier National Polish Edition, but it's also in the manuscript
For an analysis, there are missing several important and interesting points, harmonic marches, appogiatures (the "Tchaikowsky quotation" is just a descending scale with appogiature on the 9th, Schumann and Ravel do that a lot too), and the napoletan sixth, played twice in a row (Chopin must have like it particularly), very common in baroque music, and part of a phrygian mode (even more ancient than baroque) or mode 3, which, and with the piccardy third are common elements of J.S. Bach's writing.
For me, all the tritones are 5th degrees (dominant 9th chord without fundamental), which are the basis for modulations or chords transitions for most music before an certain era, and those tritones do not necessarily denote / translate to/from pain/suffering; it's one mean to bring some tension, like appogiatures before a resolution or tension release. Those are really pivotal chords that allow to modulate into many new chords or degrees.
So the structure is AABA', at the beginning of B (bar 17), the 11th+12th played together are a noticeable pain tension (IMHO, more noticeable than the common tritones), appogiatures nevetheless, resoled into a new tension, 9th+minor 10th, also appogiature, all of this being part of a 5-1 degree movement (bars 17, 18), and then transposed again in bars 19, 20.
There is more, but I think that more than enough for a YT comment.
Cheers !
Thank you! You are 100% right but these analyses were not created for musicians but for amateur music lovers who have no idea about anything you're writing about. So I was just making them simpler. Thanks for this comment though!
@@gregniemczuk Oh I understand. I thought that études de Chopin tutorials were for music students, on a prepro or pro path, and those analysis elements were pretty common among those levels. In my case, I learned cadenza types, degrees and modulations, neighbor tonalities, harmonic marches very early in my musical education.
About the diminished chord, Beethoven liked it a lot and used it a lot, sometimes over many bars in a row (eg., appassionata).
Beethoven: "My dear boy, the startling effects which many credit to the natural genius of the composer, are often achieved with the greatest ease by the use and resolution of the diminished seventh chords"
"When the gentlemen can think of nothing new, and can go no further, they quickly call in a diminished seventh chord to help them out of the predicament."
@@MathieuPrevot yes!!! You're so passionate. I love that! Also Tchaikovsky used it a lot. All the time! (See the Pathetic Symphony for example).
Yes my analysis videos were being made during COVID times to make all the people feel better and entertain them. Not only musicians.
@@gregniemczuk Thank you, you are so kind. The 4th movement of the Pathetic symphony is so sad it breaks my heart. This symphony is too much conventional and repetitive to my taste. With Beethoven I was trying to show that the diminished chord can express other things beside sadness. I thought about another great example: Liszt's first Mephisto waltz has tons of diminished expressing long (several bars) suspensions (as well as super long appogiatures) of love or pleasure or tenderness; there is no sadness. Conversely, I recently read Chopin's 2nd sonata, which expresses incredible nuances / shades of sadness with diminished and without diminished ! In my emotional experience, the 6 op10 is rather warm, but very nostalgic, with very intimate desires, hopes, doubts, indecisions (thanks to the fast patterns, which also bring some kind of effervescence, excitement, at the right tempo), and is one great masterpiece from Chopin. This could be the excitement and the hopes and tendernesses and love one can feel before meeting the loved one, I believe this can match Chopin's life experience at that time. What do you think ?
The Godowsky 13, brings back the Bach's legacy and pushes further the effervescence, making the piece kind of less intimate globally, or less shy, contained (typical of Chopin ?), and also more emotional, more "3D". I believe that Rachmaninoff was a lot influenced by this very 13th étude ! So, you have Bach + Chopin + Godowsky + Rachmaninoff in one beautiful piece !
@@MathieuPrevot yes, I definitely think that Chopin continued the Bach/Mozart/Beethoven tradition about the language of the music!
Apreciado Greg,soy de Venezuela,hablo polaco pero no lo escribo.
Te FELICITO por Este Analisis.
ABSOLUTAMENTE ME HAS CONVENCIDO.
Pero asi la Segunda parte se vuelve Dificilisima por lo polifonico y armonico.
No se que opinas de la Transcripción para la izquierda. de Godowski. Y muy interesante esa acotacion de que es POS Etude 12.
Gracias!!! Si Godowsky es increíble. Y tempo es correcto!
One of the greatest laments ever written. And if anyone wants to talk about harmonic innovation then Wagner has nothing on this, written decades earlier than Tristan.
Just out of interest, what speed does Chopin ask for? My Augener's Edition (1920s?) has dotted crotchet = 60 + "Andante". Shocked - Yes. Like it - Yes!
Dotted crochet 69
Wonderful insight - what an underrated Etude! How beautiful it is - and your wonderful interpretation ⭐️⭐️⭐️
Yes!!! Thank you!!!
resembles tom jobim