I cant tell if it is that my journey in classical music started with Rubinstein's Chopin so many years ago, but at this date I still find him unsurpassable in most of Chopin repertoire
The first time I listened to Rubinstein (the only piece I had known before that was the famous posthumous waltz in A minor) was during a recording op the op 48 no 1. As soon as I heard it, I obviously fell in love with it and learnt it. As I had never learnt anything this difficult so far, it took me 6 months to perfect it, but I was proud to be able to play it really, really well. Of course, not as good as him, who, like you said, is the best interpret of most Chopin's pieces.
Algo para leer de los impromptus📚 Etimológicamente, "impromptu" es sinónimo de improvisación. Aunque se haya permitido soñar en el piano los temas de sus impromptus, Chopin los elaboró luego tan bien, que las cuatro piezas unen el sabor del primer impulso con la perfección de una escritura trabajada. Su forma es simple responde al esquema A-B-A: es decir que un episodio central se ve rodeado de dos episodio simétricos y gemelos. Por lo tanto el interés de los impromptus no reside en la forma sino en la sustancia musical. Pero le corresponde al intérprete devolver a estas cuatro joyas su carácter espontáneo. Como lo dice muy bien Cortot: "En cierta forma tiene que parecer que la música nace bajo los dedos del ejecutante" De "Chopin"-Bernard Gavoty
Now that my New York City hardcore survey is finished, it's time to chill out. Here's a curve ball for ya---classical music. Please don't get me wrong, I am FAR from an expert in this genre. In fact I've only listened to classical for one year now, and only occasionally at that. I had a friend in college who was quite an accomplished classical pianist and one time I asked him if he ever wanted to play his own original compositions. He shook his head No. Through the years I wondered why since I thought most people would want to create their own music. Now I know why he didn't feel the need. Let's hear two interpretations of Chopin's Impromptu 2 in F sharp, Op. 36. First by Arthur Rubinstein and the second by Alfred Cortot. It's the exact same composition but what a difference! That is why some great pianists could care less about playing their own compositions. They can put a wholly individual stamp on already existing music. Here's what wiki has to say about Rubinstein "Arthur Rubinstein, KBE (January 28, 1887 - December 20, 1982) was a Polish American classical pianist. He received international acclaim for his performances of the music written by a variety of composers and many regard him as the greatest Chopin interpreter of his time. He was described by The New York Times as one of the greatest pianists of the twentieth century. He played in public for eight decades." This is truly a GREAT Chopin Impromptu. And please note, Rubinstein's interpretation lasts 6 minutes.
About 20 years ago Dmitry Paperno had this Impromptu scheduled on a recital. I was all excited, because you don't hear it too often. Then he substitued the weakest (in my opinion) Scherzo, the op. 20 in B-minor. I still fume about it. Rubinstein kicks *ss! I want my F-Sharp Impromptu. Thank God for RUclips! (Maybe I should just get over it?!)
I think the middle part of the op 20 is one of the most beautiful melodies ever composed by Chopin, so I disagree with you saying it's the weakest one of the Scherzi. I think they all are incredible, maybe with a tiny preference for the last :)
This performance is one of the slowest on record. The problem is the speed that almost everyone that is, except Rubinstein, cheats with a more moving tempo in the beginning (which is after all, in cut time) and sort of forgetting about it and lengthening when there are 8 32nds to one quarter towards the end. This piece sure is an enigma, not only tempo but just about in everything else. I mean, what does one do with the first bass F# octave? How can that be related to the other bass notes and the gradual upward chromatic half steps, F#, E#(F) and G in the middle section? How does one achieve overall balance, tying everything together? Which lines should be brought out more in the section with the 32nds, to shift from the left hand to the right? This little piece is full of problems and just about everyone plays it differently.
I think all recorded pianists race too much in the end section, as if they feel their technique virtuosity being tested but that is the wrong way to play this piece. I have learned that piece and once you musically understand the harmonies in the last section you cannot play it on metronome like race tempo like they all do, it erases all the beauty in there. I rarely have this situation but only my own playing satisfies me in this piece.
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I cant tell if it is that my journey in classical music started with Rubinstein's Chopin so many years ago, but at this date I still find him unsurpassable in most of Chopin repertoire
The first time I listened to Rubinstein (the only piece I had known before that was the famous posthumous waltz in A minor) was during a recording op the op 48 no 1. As soon as I heard it, I obviously fell in love with it and learnt it. As I had never learnt anything this difficult so far, it took me 6 months to perfect it, but I was proud to be able to play it really, really well. Of course, not as good as him, who, like you said, is the best interpret of most Chopin's pieces.
Chopin definitely meanders in this one! Elements of Impromptu, march, nocturne and etude all rolled into one. I love the opening theme.
Algo para leer de los impromptus📚
Etimológicamente, "impromptu" es sinónimo de improvisación. Aunque se haya permitido soñar en el piano los temas de sus impromptus, Chopin los elaboró luego tan bien, que las cuatro piezas unen el sabor del primer impulso con la perfección de una escritura trabajada. Su forma es simple responde al esquema A-B-A: es decir que un episodio central se ve rodeado de dos episodio simétricos y gemelos. Por lo tanto el interés de los impromptus no reside en la forma sino en la sustancia musical. Pero le corresponde al intérprete devolver a estas cuatro joyas su carácter espontáneo. Como lo dice muy bien Cortot: "En cierta forma tiene que parecer que la música nace bajo los dedos del ejecutante"
De "Chopin"-Bernard Gavoty
this is how it feels to take an aspirin when you got a headache while resing peacefully in bed and watching memories pass by
Me encanta. Precisamente, estoy tocando esta pieza y esta es la mejor referencia que se puede tener desde mi punto de vista. Buenísima interpretación.
Rubinstein en estado puro.
なかなか味わい深い即興曲です。ショパンはいいです。ルービンシュタインはさすがにすばらしい❗
最初の穏やかな始まり方が好き。
Now that my New York City hardcore survey is finished, it's time to chill out. Here's a curve ball for ya---classical music. Please don't get me wrong, I am FAR from an expert in this genre. In fact I've only listened to classical for one year now, and only occasionally at that. I had a friend in college who was quite an accomplished classical pianist and one time I asked him if he ever wanted to play his own original compositions. He shook his head No. Through the years I wondered why since I thought most people would want to create their own music. Now I know why he didn't feel the need.
Let's hear two interpretations of Chopin's Impromptu 2 in F sharp, Op. 36. First by Arthur Rubinstein and the second by Alfred Cortot. It's the exact same composition but what a difference! That is why some great pianists could care less about playing their own compositions. They can put a wholly individual stamp on already existing music.
Here's what wiki has to say about Rubinstein "Arthur Rubinstein, KBE (January 28, 1887 - December 20, 1982) was a Polish American classical pianist. He received international acclaim for his performances of the music written by a variety of composers and many regard him as the greatest Chopin interpreter of his time. He was described by The New York Times as one of the greatest pianists of the twentieth century. He played in public for eight decades."
This is truly a GREAT Chopin Impromptu. And please note, Rubinstein's interpretation lasts 6 minutes.
lmao who the fuck are you
Well said
About 20 years ago Dmitry Paperno had this Impromptu scheduled on a recital. I was all excited, because you don't hear it too often. Then he substitued the weakest (in my opinion) Scherzo, the op. 20 in B-minor. I still fume about it. Rubinstein kicks *ss! I want my F-Sharp Impromptu. Thank God for RUclips! (Maybe I should just get over it?!)
I think the middle part of the op 20 is one of the most beautiful melodies ever composed by Chopin, so I disagree with you saying it's the weakest one of the Scherzi. I think they all are incredible, maybe with a tiny preference for the last :)
No expert here, but I've listened to several pianist play this, and I find Rubenstein the most satisfactory
Simplesmente inspirador!
Amazing works!
This piece is so beautiful but so difficult to play.
wonderful!
vola sulla tastiera con una leggerezza magica
This performance is one of the slowest on record. The problem is the speed that almost everyone that is, except Rubinstein, cheats with a more moving tempo in the beginning (which is after all, in cut time) and sort of forgetting about it and lengthening when there are 8 32nds to one quarter towards the end.
This piece sure is an enigma, not only tempo but just about in everything else. I mean, what does one do with the first bass F# octave? How can that be related to the other bass notes and the gradual upward chromatic half steps, F#, E#(F) and G in the middle section? How does one achieve overall balance, tying everything together? Which lines should be brought out more in the section with the 32nds, to shift from the left hand to the right? This little piece is full of problems and just about everyone plays it differently.
Ya yeeett
This piece is insane, i just saw a tutorial visual video and i can't believe how insanely difficult piece this is. Really complicated.
Oh my goodness, this has more delicate beauty than Murray, I am converted....
i'm playing this song, and I just realized that I have a lot of mistakes in the rhythm, especially in the chords near the beginning
good
hi piano is differently tuned hehe
Ya yeeett
44,454 views and three comments...
Wow
That's because I alone listened to it thounsands of times ;)
lets take him piano away,hehe..
I think all recorded pianists race too much in the end section, as if they feel their technique virtuosity being tested but that is the wrong way to play this piece. I have learned that piece and once you musically understand the harmonies in the last section you cannot play it on metronome like race tempo like they all do, it erases all the beauty in there. I rarely have this situation but only my own playing satisfies me in this piece.