Chopin: 4 Impromptus Op.29, 36, 51, 66 (Kissin)
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- Опубликовано: 14 июл 2024
- A gorgeous performance of Chopin's four impromptus. Kissin's playing is warm and free (as befits the form), featuring generous rubato and a striking fondness for the "Russian Crescendo" -- that is to say, emphasising a passage marked with a crescendo by doing the exact opposite and playing with a decrescendo (you'll hear this usually used in the Rachmaninoff piano concerti). Kissin's playing never becomes cavalier, however -- the tempi are always moderate-to-slow, the voicing archly refined, and the melodic shape perfectly formed. It's very hard to find this mixture of freedom and ruminative intensity in a performance.
Chopin's impromptus all have a similar form: A B A + coda, with outer sections dominated by a sustained, heightened motion with a meandering melody stretched across very broad arches, whilst the middle section usually features a lyrical song in much slower motion. This is the reverse of the pattern found in Chopin's nocturnes, and it's actually perfectly plausible to see these pieces as inside-out nocturnes, as masterfully crafted as anything Chopin wrote.
00:00 -- No.1 in A-flat Major. Light as foam and bright in colour, with two etudal outer sections framing a harmonically playful if sombre nocturne.
04:34 -- No.2 in F-sharp Major. The most complex impromptu, featuring an uncannily capricious narrative structure. It begins with a surprising choral pasage that transitions via pearly chords into a sweeping heroic passage. This passage ends via one of the most bizarre and striking moduations Chopin ever produced [7:37], and then the main choral theme is subjected to some richly textured variations.
10:42 -- No.3 in G-flat Major. A shining example of how Chopin could elevate even the most humble forms. Beautiful melodic lines in the outer sections, and an utterly inspired, perfectly crafted episode of polyrhythmic counterpoint for the middle section that somehow manages to sound completely free.
17:45 -- No.4 in C-sharp Minor. Actually the first impromptu to be written, and published against Chopin's express wishes after his death (with a unnecessary "fantaisie-" added to its title). Note how liberally this impromptu borrows from the Moonlight Sonata's 3rd movement -- the downward run at 17:57 is taken right out of the Moonlight's cadenza, for instance, and the textures at the end of this impromptu are also very similar to that of the Moonlight. 
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Finally, somebody who plays the Fantaisie-Impromptu with rubato that actually feels natural and not cliched or forced. I honestly think Kissin is somewhat underrated with his Chopin.
so , who is even better in this case of chopin`s impromtu than Kissin ?
A tip for anyone attempting op.66 ( since its the most popular), When i was learning this piece the hardest thing about it was the 8/6 polyrythems in the A section. The easitest way to get through it is DON'T practice the a section slow with both hands. Do the right hand by its self slow, then the left hand by its self slow, then speed them up separately. Once you put the hands together it should flow just fine.
Franz Liszt yes!
@Franz Lizst Yes, true!!
goes for a lot of chopin's pieces as well; such as some parts in his aeolian harp etude, etc., and is a common feature in most of his compositions to have polyrhythms. practicing slowly with both hands is extremely overwhelming. simply practice using separate hands and put it together without too much pressure and thinking for better flow always helps, like you said
So true. One of the only pieces I ever played where it's easier to play it fast than slow!
@@jacobsimonson9040 I can play it just fine slowly mostly because the polyrhythm isn’t too hard for me, but playing it quickly with the right articulation and dynamics is difficult, not to mention wrong notes or sudden stops.
Kissin is a genius, a master of subtlety, sensitivity, intelligence, passion, intuitive rapport with Chopin. Bravo!
Very true
I played #2 back in my youth when taking lessons. The 6 sharps intimidate right from the start; and then as soon as you get over that, there are the D octaves in the left hand, and once you get over that, the 32nd notes hit you with a flurry! Thanks Chopin!
8:45, can we all just appreciate how clear kissin brings that b in the left hand out, really incredible.
Ironic that Chopin clearly hated his Fantasie Impromptu then as its his most played piece, no one hardly plays the other 3.
I know, right? Chopin is pretty angry now, my favorite impromptu personally is No.2
my fav is no. 3
@@redfishplayz4476 the third is great as well
he stolled for another composer the first ideia
@@Tizohip Moonlight sonata 3rd mov cadenza
The wildly popular 4th impromptu completely overshadows the other three when it comes to popularity, just like how Moonlight Sonata completely overshadowed the two Beethoven sonatas written before and after it in popularity. Another interesting comparison between the two pieces. My personal favorite is the 3rd.
+Echoherb A real pity about the Op.66, really, as while there's nothing wrong with the piece, the other three really outshine it in harmonic + melodic + contrapuntal sophistication.
+Ashish Xiangyi Kumar Agreed. It really is a shame. Chopin's most popular pieces tend to be (or at least seems to be) the simpler ones. many in which he didn't want published in the first place, or part of a larger set in which many other pieces of the set outshine it, a lot of times with added titles that Chopin would have never attributed to the piece. The C# minor nocturne Op. Posthumous and Opus 10n12 Etude comes to mind.
+Echoherb third is the best. no doubt
I think that if he really wanted his pieces do not be published, he would burned the pieces himself. He also tell them in the moment of his death where was the pieces and say "please do not publish it, burn them all" (that means: Please, publish my pieces). That add valour to the pieces and makes his music published in life looks even better. And people keep talking about him before he die, publishing new pieces and creating a legend. I think that is what he wanted. Exactly like the composers that he admired like Bach or Mozart. Many of his pieces were published after they die, and is well known that Chopin etudes were based on the Bach etudes published after he die (one sonata and one fugue in every key) and Paganini's music. He knows what happen with Bach and Mozart, and he wanted to be like them. And plus, he was a piano player most than a composer, so he always play live his main pieces. He have no need to show it then. But why he would write pieces if he don't wanted to be publicated. As I say, if he would wanted that, he wouldn't write them or would burned them himself. And know that people will discover secret and great music when you die, that calm the fear to die too, I think. But I leave it here. Good night.
And ironically it took a small passage from moonlight sonata, too, ha.
More on the "Russian crescendo"...it is used anywhere emphasis is desired on a specific note in a crescendo/forte/portamento passage...the decrescendo is usually accompanied by a ritard. as well as a slight breath and/or complete clearing of pedal before a clean mp-pp attack on the note of arrival. I was taught it as an alternative way of "focussing attention"; instead of trying to grow sound continuously, the combination of unexpected diminuendo and rubato can direct the listener's ear to key points of the score and is especially helpful for variety in dense scores such as Rachmaninoff concerti.
The 2nd Impromptu is so underrated. It's especially enjoyable from 8:25
exactly
MY fav impromptu is the 3rd
There is counterpoint with that impromptu as well
@@pianosbloxworld4460 Yeah the counterpoint is masterly
The 2nd impromptu is my favourite of all the 4 tbh
I love Kissin's improvisation-like interpertation of Chopin Impromtus. Many pianist play them as commercial technically demanding pieces, no dream, no inspiration.
I'm in love with the second.
I once heard Kissin playing these pieces live. Was a joy.
The first is so... aristocratic. I love it!
I always imagine ball scenes from something like War and Peace to these pieces.
Actually, if you compare the first impromptu with Chopin's fantasie impromptu, its basically flipped
I'll have my steak medium rare with a glass of wine and an impromptu please. Oh, an aristocrat!
@@stalkerstomper3304 Yes. It's very sweet
The best interpretation of Fantasie Impromptu I've ever heard. So much emotion.
Try Trifonov at Berlin.
@@andreasneumann I usually prefer Trifonov, but honestly I like Kissin's more here.
1st impromptu is so beautiful, underrated
Fantastic, that first impromptu. Very lyrical and refined playing, opens a whole new dimension in this impromptu... I do not always like Kissin's interpretations, even if his technique is flawless... But this one is exquisite...
kissin just has to be one of the best pianists ever listening to his interpretation of the first impromptu is just incredible all the small details
7:37 Damn, now that's how you modulate a tune!
Isn't it magical
Incredible. So dark and unexpected
I know all his works, but this modulation is insane. Incredible. Even more because he uses in the most unprententious form he worte for (impromptus) x) Made gold of everything he touched. Chopin.
Liszt would often speak of Wagner's interest in "what Freddy was doing." The influence is obvious, here, and in many other works.
Agree, Chopin was a genius!
hello? I enjoyed listening to this music. Unlike anything I've heard so far, I like Chopin's impromptu because it's so neat to Kissin! Thank you very much for uploading the video!
This version of the last one can make you cry
the middle section of the op. 29 impromptu is fabulous the drama in the soprano
Consider the beautiful section from 8:47... comes to mind the brilliant runs of Chopin's 3rd sonata Finale (also in F# major to start!)
8:38
beautiful
absolutely beautiful
Despite being a huge Chopin fan, I have not heard op 51 very much. Extremely underrated piece. Paints Chopin's typical yet still elegant dreamy melancholic landscape.
I'm normally not a fan of Kissin's Chopin but these recordings are good. I still think Liszt is where he really shines though.
If there's no chopin music the world wull be a grave to me
Same
Interpretation of the Fantaisie was incredible!
FANTASTIC CHANNEL - RARE SCORES - THE BESTS.
The 2nd piece (F sharp) is the most musical to me.
Same
No.3. One of the most unknown good pieces by Chopin.
8:31-8:47 Is so beautiful
I love listening to Kissin - it’s quite interesting to see though how he barely follows the score dynamics marking and phrasing.
Bravo bravo bravo bravo brilliance genial fantastic
So beautiful piece, I love it !
Interesting about the Russian Crescendo. Now Ill lok for it...
Amazing!
Wonderful Playing By Kissin Bravo!
The First stands out! Thanks to Kissin's gorgeuos performance!
The second impromptu is so underrated.
It' s true but not for me bro ( i' m italian😂 sorry 😅)
I swear there's a Chopin waltz which strikingly resembles that theme from the first impromptu
Are you perhaps thinking of op 64 n 3? It does somewhat resemble the theme and it's in the same tonality.
@@pianoplaynight Yes that's the one
@@Schubertd960 glad to have helped ;)
I prefer this speed better, such elegant pace
Fantastic
so delicate
They are all splendidly well played, but I would say that it is No 3 10:42 where Kissin absolutely excels. Don't forget to breathe while you are listening.
Love song🎶
옛날에 쳤던 곡인데 여전히 좋다🤗
………..……………………………………………………….?..
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
I always find myself coming back to 8:25 i just cant get over the upcoming section
I feel ya
u already know Kissin cringes everytime we get to 7:07. amazing performance
Thank you, Evgueni Kissin.
HAPPY BIRTHDAY CHOPIN
This is not the Fantaisie-Impromptu score Kissin is playing from. His performance resembles my score, the first edition, except for one point 19:35 where in my copy there is a G natural. The most notable difference in the score from Kissin's performance is at 20:56, where he clearly doesn't play that unnecessarily virtuosic passage that Karl Klindworth threw in for who knows what reason. Chopin didn't want the piece published at all, so if we're going to disregard his wishes, surely we should respect his original work and not corrupt the beautifully simple middle section with things he never wrote.
This is the de Pachmann edition - probably chosen not to violate copyright. Also because it has nice and clear typesetting.
Good tjat you noticed, but, relax people, it's a youtube video with scores, it's not official, and you didn't even pay for that. So the user who created the video didn't check the details in scores... But who cares, the scores are just to beautify the audio
@@Moo-yy9oy Who cares? Considering you have an understanding of grammar that's lower than a brick, I wouldn't be talking.
The second is the most improvisatory of the set!
And the best of them all, too!
12:18
12:42
12:56
13:14
Sostenuto
13:47
Tempo I
17:16
These creations known as Impromptus sound like larger scale Nocturnes with more dramatic development changes in mood and scale
Them : you can only play oh so many pieces well kissin: is it really too much to ask for them all?
0:42 heavenly
最近２番を練習し始めてキーシンをお手本なんておこがましいのですが雰囲気だけでもと思い勉強しにきました。２番は全く最初興味ありませんでした。３番は好きでしたが。今は２番が一番大好きになりました。8:00位からが美しいです!
The third impromptu has a lot of elements reminding of the op.post polonaise in G-flat : a theme starting with G-flat then e-flat minor, then an ascending harmonic march by thirds ending at the dominant. And overall a form with trio in e-flat minor with an oscillation between both tonalities
The second is my favourite.
4:53 parallel fifths lol 🤓
my favourite of the set nevertheless
Can't help but think that 4:51 is a diminution of 1:04 but in major key. It's surprising that they're 7 opuses apart but not so as they bear the same title.
Also, compare 10:44 to 0:01
17:52 Magnifique morceau dont on ne se lassera jamais
Do you see how op.51 ending and op.66 opening are perfectly connected?
Kissin is SERIOUS
My favorite impromptu is the first one. I'm actually not a fan of Fantasie because of the fact that everyone plays it. The first impromptu's melody is so beautiful, especially like this transition at 0:31 (this melody is insane) and the run at 0:41. I can't think of any piece in classical music that have these types of melodies that goes straight to your soul-its the magic and genius of Chopin
1st and 4th are the best
Definitively
when and where is this recording??
I´m not sure about Kissin. I really love his interpretation of Chopins Op. 28 and the concertos. But in my opinion, when it comes to Chopin Improptus, Askenashy is king. Especially the second part of op. 29.
The first one
Great compositions I wonder if Chopin was familiar with Schubert’s Impromptus
Maybe....I'm pretty sure he might have been aware of them....chopin was 18yrs old when schubert died in 1828....
I would be very surprised if he wasn't!
4:51
7:51
8:24
9:45, 17:22
It makes me sad how literally no one talks about the first impromptu, I almost can't stand the third one and the other two are okay for me, but the first is so perfect.
1:40 why do i feel like i hear this melody in every chopin piece lol
Under-developed ear, perhaps.
This theme is actually present in the nocturne n 21, posthumous work!
@@maxgregorycompositions6216 Listen to the nocturne number 21 posthumously. I don't think there's an underdeveloped ear, quite the contrary! :)
And not just the "Russian Crescendo" - Russian decrescendos seem to be in fair abundance, too. (Is this a good thing?)
Ashish did you listen to Bunin's recording of four impromtus? Personally my favourite. What do you think about it in comparison to Kissin?
In my opinion, there is too much stretching the rhythm in the 2nd Impromptu. Rubinstein doesn't even take such liberites, In fact, the older master keeps a rather steady beat from the beginning until the end that most pianists don't pay attention to, obviously because of the difficulty of playing the 32nds so fast. I don't feel the Allegretto from the get go, something that pianists of the first half of the 20th century generation managed to convey. .
All one needs to do is read Chopin's own writings on the subject of rubato.
Jeffrey Jones agreed. The 3rd impromptu is almost unlistenable from Kissin.
19:03 strangest time signature change from C to 4/4
lol
Actually, it was cut time, not common time, so it was 2/2 to 4/4.
@@mostafa12890 which raises another question: cut time to cut time
Yeah the 4/4 is redundant, I think. Common time and 4/4 are the same thing.
It was from 2/2 (cut time) to 4/4 (common time). Pay attention to the line which goes through the C letter
I actually dislike the Fantasie one the most out of the 4. It would have been fine. If not extremely popularized and overplayed
You put my feelings into words.
Plus Chopin hated the fourth and asked it to be burned.
So…playing it is like an insult to his memory
Does anybody know which recording is this taken from?
02:04 sounds like Heroic Polonaise op. 53 (middle part)
It immediately did right in the beginning. But that’s because it’s in the same key and it’s by chopin.
@@babyskunkcat Yes it is. That first Impromptu also sounds like his third Ballade (also in Ab Major); especially in the middle part.
8:40
lindíssima essa parte da música!
17:45
Me gusta
19c 낭만주의 - 피아노 음악
쇼팽 - [환상 즉흥곡] op.66
lit
Concert version?
10:43 is the melodic outline here not almost a carbon copy of the main theme of the first impromptu, albeit transposed?
Seriously, who on Earth has never heard the 4th one
Many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many many people
I mean, it's a question of concern now. The second and third, oh wow!
I am a massive Kissin fan, but I have to say I prefer Ashkenazy's performance of the first Impromptu. Kissin is a little careless with the tempo. Too much rubato and employs a far too heavy touch. Don't get me wrong, Kissin is a phenomenal performer, but I just prefer Ashkenazy's.
There's never enough rubato!
좀 마르게 친다. 색다르다
Isn’t it interesting how the melody in the second impromptu resembles Brahms’ Die Mainacht?
04:34 this opening seems like a callback to sonata 2, which i suppose isn't really a coincidence given that it was written only one opus after sonata 2
I don't get it, in what sense?
is it only me who finds 6:43 as the best part?
Not a fan of his interpretation of the G-flat one. Should be faster overall and that incessant rubato, ugh. Even Chopin has its limits when it comes to rubato.
Exactly! "Tempo giusto (allegro vivace)" as stated in the score
I agree, but "ugh"? >>>/reddit
I agree! Tempo guisto in allegro vivace, you should be fast enough but tendering
Correct, some rubato would be good, but there is a point, where it just sounds not good anymore.
Yeah the 3rd one sounds a bit too self-indulgent. But I would still take that over some boring mechanical performance.
I think you should upload Abdel Rahman El Bacha's versions : They are better in my opinion... They are full of life and passion, but there's not a lot of rubato like in Kissin's versions. I know El Bacha isn't a very popular pianist, but he's just one of the best Chopin player I've ever heard, along with Rubinstein and Zimmerman !
Hmm... I just had a look at some of his performances on RUclips, he's very clean from a technical point of view, and his playing has striking clarity, but he seems a bit mechanical to me I'm afraid. Kissin has a way of making every phrase powerful in its own way, and I find his playing much more effective.
No. 3 is so sad
Vote for your favorite in the replies!!
#1
#2
#3
#4
#5
19:04
Chopin really hated his best impromptu
20:56 excuse me?
Chopin actually never wrote that part, so many pianists chose not to play it
I don't play this part either because Chopin never wrote this unnecessary part
Love Kissin's playing here. Though, I don't see how he is able to concentrate with dude in the audience hacking up a lung!