Stunning performance, each nuance of theme or accompaniment were crystal clear but subtle supporting each other...who wouldn't fall for the 5 against 6 rhythm! Hats off to Chopin then Rubinstein!!
Dear Beckmesser and friends, there are lots of great music players but only a few of them are really 0:01 great poets, like my admired Arthur Rubinstein.
I've always felt that RCA Victor never captured Rubinstein's sound well at all. Until I heard him live--many times thank goodness--I always hated his recorded tone. I've come to believe that Rubinstein sounded harsh when closely miked. But in concert, his "percussiveness" turned into spun gold. Interestingly, the same can be said for Jasha Heifetz.
Hello. First of all, I want to thank you for listening. Second, since I posted my comments here, I feel responsible to come to Sirota's defence. (Of course, a master like him really needs no defence at all! especially from just a youtube listener like me) One interesting thing about music, I think, is that two persons can hear the same performance differently. I have no reserve in saying that Sirota's performance of this etude is the single most impressive recording I have ever heard
Wonderful mood here and it really makes a lotta sense in his phrasing .He doesn't follow some of marking s in score but so many editions one rarely knows what Chopin wrote . Eb minor section ithink is supposed to go back down in dynamic scale after phrase starting in Bb at bottmof 1st page but Rubinstein thought long and hard about Chopin style so there is much to enjoy here and learn from ! Common sense tells me the basses at crisis starting at E gBbDb chord each should be emphasized . Pianos Erard and Pleyel probably had no loud basses to do this but I think the music requires this . Chiu and Cortot I think I best Chopinists so I'm going to see what they do !
I think that it can be a part of individual interpretation. As you, I have con forza in my sheets,but I don't have mordents on the repetition of the motive, so idk, maby he didn't and I would expect that, because it follows the belief of Chopin as a man who used force with moderation while playing piano. When there was forte in sheets he was playing loud but not forte fortissimo, but it is only belief we share based on the best Chopin player.
His name is Leo Sirota, a student of Busoni. Please look up Wikipedia for Leo Sirota and listen to attached performance of same etude. (Also, please remember he was in old age when he recorded it.) I think you also will be angry with huge injustice done to a great artist, by forgetting him. And if someone has any recording of Sirota, please upload so we can learn from this great man. Thank you.
It's not about reach, I can't even reach a tenth and the point of the etude is on moving your entire left arm to shift your hand position so you can reach that far. The difficult parts are pivoting to reach a fifth between your 5th and 4th fingers and remembering what notes are in the middle of each set of 6
Lauren I have the same problem too. I use the four finger from the F to C. For the left hand top notes, I sort of “throw” my thumb to the key, so it gets accented. Use power when throwing your thumb down. The accented left hand notes are an additional melody. The right hand and accented left hand notes are like a duet, and those accents really help distinguish melody from harmony. I know tis is worded terribly but I hope this helps! :)
I think that the most important is not the size of your hand but the way you explore it. Rotation of the wrist is the point here in this etude. If your hand pains, you are playing wrong. You should be totally relaxed throughout all. The first low f in lh is played with the hand in one position, then you rotate it up and down through all the etude. That's the idea of it. Op 10no9 is a prelude to the Revolutionary, pay atention to it. Cheers.
- not necessarily the "best" of course. Wrong or missed notes don't bother me at all when I can be sure that it's a master playing. How can I be sure that it's a master? His tone. The utter confidence he projects. His tone is not a whit inferior to Hofmann's or Rachmaninov's, and there seems to be no doubt in his mind how he wants to play. If you have the time, please try listening to Chopin's b minor scherzo by Sirota. Fortunately, it is on youtube!
Gra Mistrz Rubinstein Godowski opracował tę Etiudę Chopina iście po mistrzowsku Inną Piotr Lachert - także genialnie... Zapraszam na Lachertpiotr _______________
Excuse me, this comment has little to do with this performance. I post comment here because I think many serious listeners are coming to here. Because, there was a master of piano of highest degree, equal to this Rubinstein in stature, and yet almost noone has so much as heard his name. I knew only the name, but never listened to performance until yesterday.
Please pardon, truly playing music is to one's own interpretation. Nevertheless, I think for this piece , it is not a romantic expression but a prayer in exasperation, such that it is imperative to bang the last note.
@@agamaz5650 I actually got to know where this recording comes from. There was a bootleg from London 1960, where Rubinstein played this etude together with op.10 No.5 & No.6 & No.8. This recording (among others) was also broadcasted on Polish Radio 2 a few years ago.
This Chopin's Etude is completely underrated... thanks for sharing this Jewel.
Stunning performance, each nuance of theme or accompaniment were crystal clear but subtle supporting each other...who wouldn't fall for the 5 against 6 rhythm! Hats off to Chopin then Rubinstein!!
Rubinstein makes this étude sing so deeply and delicately. Maybe not even Chopin himself would have imagined it that amazing way.
It doesn't get any better than this. Bravo!
Oh my god that was marvelous!
I wish I could hear Chopin play this etude...
One of my favorite etudes
Dear Beckmesser and friends, there are lots of great music players but only a few of them are really 0:01 great poets, like my admired Arthur Rubinstein.
I've always felt that RCA Victor never captured Rubinstein's sound well at all. Until I heard him live--many times thank goodness--I always hated his recorded tone.
I've come to believe that Rubinstein sounded harsh when closely miked. But in concert, his "percussiveness" turned into spun gold.
Interestingly, the same can be said for Jasha Heifetz.
Hello. First of all, I want to thank you for listening. Second, since I posted my comments here, I feel responsible to come to Sirota's defence. (Of course, a master like him really needs no defence at all! especially from just a youtube listener like me)
One interesting thing about music, I think, is that two persons can hear the same performance differently. I have no reserve in saying that Sirota's performance of this etude is the single most impressive recording I have ever heard
thanks so much for this rare recording. I've never heard this before.
Only Rubinstein can play the ending the right way that makes it really sound like a clock.
An excellent rendition. Many ideas here were incorporated into my own (which you may view on my channel if you wish!).
Merci beaucoup, Rubinstein!
Wonderful mood here and it really makes a lotta sense in his phrasing .He doesn't follow some of marking s in score but so many editions one rarely knows what Chopin wrote . Eb minor section ithink is supposed to go back down in dynamic scale after phrase starting in Bb at bottmof 1st page but Rubinstein thought long and hard about Chopin style so there is much to enjoy here and learn from ! Common sense tells me the basses at crisis starting at E gBbDb chord each should be emphasized . Pianos Erard and Pleyel probably had no loud basses to do this but I think the music requires this . Chiu and Cortot I think I best Chopinists so I'm going to see what they do !
Prepared2Die: Did Chopin write 'con forza' or did one of the many editors of various editions? Different editions, different markings...
I think that it can be a part of individual interpretation. As you, I have con forza in my sheets,but I don't have mordents on the repetition of the motive, so idk, maby he didn't and I would expect that, because it follows the belief of Chopin as a man who used force with moderation while playing piano. When there was forte in sheets he was playing loud but not forte fortissimo, but it is only belief we share based on the best Chopin player.
His name is Leo Sirota, a student of Busoni. Please look up Wikipedia for Leo Sirota and listen to attached performance of same etude. (Also, please remember he was in old age when he recorded it.) I think you also will be angry with huge injustice done to a great artist, by forgetting him. And if someone has any recording of Sirota, please upload so we can learn from this great man. Thank you.
There are so many neglected pianists, it's really kind of sad.
Anyone have any good exercises for mastering the left hand? My hands might be a little small for this piece, I can only reach a tenth.
search for cortot students edition there are excersices for every chopin study im currently learnyng it :)
It's not about reach, I can't even reach a tenth and the point of the etude is on moving your entire left arm to shift your hand position so you can reach that far. The difficult parts are pivoting to reach a fifth between your 5th and 4th fingers and remembering what notes are in the middle of each set of 6
Lauren I have the same problem too. I use the four finger from the F to C. For the left hand top notes, I sort of “throw” my thumb to the key, so it gets accented. Use power when throwing your thumb down. The accented left hand notes are an additional melody. The right hand and accented left hand notes are like a duet, and those accents really help distinguish melody from harmony. I know tis is worded terribly but I hope this helps! :)
No they r not i can reach only the ninth and i play this song too.... Don t worry....
I think that the most important is not the size of your hand but the way you explore it. Rotation of the wrist is the point here in this etude. If your hand pains, you are playing wrong. You should be totally relaxed throughout all. The first low f in lh is played with the hand in one position, then you rotate it up and down through all the etude. That's the idea of it. Op 10no9 is a prelude to the Revolutionary, pay atention to it. Cheers.
- not necessarily the "best" of course. Wrong or missed notes don't bother me at all when I can be sure that it's a master playing. How can I be sure that it's a master? His tone. The utter confidence he projects. His tone is not a whit inferior to Hofmann's or Rachmaninov's, and there seems to be no doubt in his mind how he wants to play.
If you have the time, please try listening to Chopin's b minor scherzo by Sirota. Fortunately, it is on youtube!
that insane left hand..
@Peter Rabitt and how is it done "properly"?
Chopin plays Chopin
Not possible
@@hansdekorver7365 i know i know bro just saying this kinda sounds like it
❤
has anyone noticed a similarity in the melodies of this etude and liszt transcendental no 10, also in f minor?
Alan D it is practically the same melody, they were both dear friends so I'm sure Chopin greatly inspired Liszt :)
Gra Mistrz Rubinstein
Godowski opracował tę Etiudę Chopina iście po mistrzowsku
Inną Piotr Lachert - także genialnie...
Zapraszam na
Lachertpiotr
_______________
Excuse me, this comment has little to do with this performance. I post comment here because I think many serious listeners are coming to here. Because, there was a master of piano of highest degree, equal to this Rubinstein in stature, and yet almost noone has so much as heard his name. I knew only the name, but never listened to performance until yesterday.
Playlisting some of the Finest Recordings m
Please pardon, truly playing music is to one's own interpretation. Nevertheless, I think for this piece , it is not a romantic expression but a prayer in exasperation, such that it is imperative to bang the last note.
@BlazeKenny
Right. Read the previous comments next time.
@RabidCh Just confirmed the fact.
@RabidCh but Rubinstein isnt one of them...
was this released somewhere?
Good question. I can’t find it on any official release. No idea where this recording comes from. Maybe some radio broadcast.
@@Chopin1995 thanks for replying, yeah where the hell did the uploader took this recording from is beyond me
@@Chopin1995 haha radio must have been insanely good back then, when you casually heard Rubinstein playing Chopin etudes xd
@@agamaz5650 I actually got to know where this recording comes from. There was a bootleg from London 1960, where Rubinstein played this etude together with op.10 No.5 & No.6 & No.8. This recording (among others) was also broadcasted on Polish Radio 2 a few years ago.
@@Chopin1995 yooooo thanks bro
Etudes is not about rubato and romantism: Pollini
a portrait of maria's soul.. :)
you're thinking of op 25 no 2
@@epicsam12345 true
i prefer the Cherkassky recording. I think Rubinstein's style here is too brash. Unusual for him but then again we are all human or rather they are!
Много лажи увы..