You’re interpretation is just perfectly rendered without exaggeration nor “over-doing” it. Thank you maestro for continuing to exalt my senses to higher levels of beauty of music. It’s a food for my tired body out of this wold’s miseries. Please continue to live for your music so I will continue to live with it. Merci infiniment.
Best version of this etude that I have ever heard! Just straight forward without all that virtuosic stuff in there that in my opinion never really fit the mood of this wonderful piece. Thank you for that!
For some reason, I have never warmed up to Chopin's music before and yet here I am checking this channel every day in hope to get the next installment of this project.
My piano teacher, the pianist Denis Zhdanov, made me aware about Berhard's series as I am studying this piece plus Chopin's etude Opus 24-12. Of course, the way Bernhard describes it in his separate introduction video, certain pieces become playable even for piano amateurs focusing on detail rather than trying to be as fast as physically possible. Thank you for such nice performance and thoughtfulness. The double beat theory is discussed a lot. Sometimes it fits, but not always. Maybe we will never know the true answer. Personally, and also as a listener, I just enjoy a tempo that best characterizes a given piece. If a performance goes to heart, what more could the composer and interpreter have been wishing for? So, maybe, let us forget most tempo marks especially from that time period.
Dear Roland Huettmann, thank you very much for your comment. It is indeed true that a metronome marking is not to be followed blindly. Already in the second half of the 19th century, editors and music writers stated that metronome markings need to be examined carefully and possibly altered. Personally I see the pros and cons of the double-beat option and take it mainly as an inspiration for my interpretations. In the case of Chopin, the slower approach works beautifully, I think. Please give my best regards to your teacher, Denis Zhdanov. Maybe he would like to get in touch sometime? All the best for your musical journey, Bernhard Ruchti
Dear Bernard, I gave this link to Denis Zhdanov, my teacher. By the way, this Etude 10-3 has this beautiful melody. I believe that the A section tempo is the tempo one would sing it (one should sing it!) -- and that might slightly differ depending on the singer. Some interpretations found on RUclips are too slow to my taste. The B part with the triton-sequences and the sixths have never been indicated by Chopin to be played fast according to my humble research. Again, it is probably a matter of mood and taste... Your tempo here is well playable -- even for me.)
Chopin indicates "poco più animato" in bar 22 and later "stretto" in bar 51. Both indications allow to increase the tempo according to the passion of the music. Obviously, in a generally slower tempo the grandeur of the passage becomes even more "grand". - As a matter of fact, the A section of the piece was indeed transformed into a slightly kitschy song that came out in Germany in the 1930ies... 😄 Best wishes for your studies!
This étude is different from no. 1 and 2 in that it has a distinct middle part, i.e. it follows an A-B-A scheme. Thus it's no longer a (maybe boring, for the students) etude but a piece for the concert hall. The chromatic part is a real feast for the ears! And, of course, all the etudes of this opus are "concert pieces", isn't this amazing? Thank you for this interpretation.
I find that this tempo gives the clear aliveness to the staccato and accent by “poco piu animato” and “con forza/con fuoco.” This etude is famous as “Chanson de l’adieu,” but, for me, it would be fit as “Chanson de la romance” like Schumann Op. 28-2.
Ich hätte eine Frage: In A Tempo Folge 5 sagten Sie zu einer Metronomangabe in Achteln: ,,Im Verhältnis zum Notenwert der Taktangabe (ein Viertel) ist der Wert der Metronomangabe bereits halbiert, nämlich ein Achtel. [...] In diesem Fall können wir im Einzelschlag fortfahren." Haben wir das nicht in dieser Chopin-Etude genauso? Der Takt wird in Vierteln gezählt und das Metronom in Achteln (Achtel = 100). Übersehe ich da etwas? Interessanterweise hieß es in Chopins Manuscript ursprünglich sogar ,,Vivace ma non troppo". Viele Grüße!
Sprechen Sie Englisch? In diesem Fall würde ich Ihre Frage bei Gelegenheit in einem "A Tempo Q & A" Video behandeln. Diese sind jedoch auf Englisch. Mit dem besten Grüssen, Bernhard Ruchti
This Etude is a difficult case. The metronome marking (quaver = 100) is obviously too fast for a "lento", even with the additional "ma non troppo". In double beat it sounds right for this etude, but not for the others (imo). Maybe we have to follow what Angela Lear wrote in her approach of Chopin's Etudes with the original texts : "Firstly, the celebrated E major etude, Op.10 No.3, is an example of some of the disparities that exist when comparing Chopin’s autograph manuscripts with various edited publications. It was originally given the tempo Vivace by Chopin, later adding ma non troppo. It is not in 4/4 time and the passages (from bar 46) have no fortissimo or doppio movimento indications. The poco piú animato (often marked at bar 21) is not given in the original manuscripts. Chopin’s ardent dislike of the sentimentalisé approach and exaggerated tempo deviations are well known. Additional tempo changes break down the musical logic and structure of the whole, subverting Chopin’s expressed intentions." Otherwise, very beautiful and sensitive interpretation by Bernhard Ruchti.
Both autographs have Vivace (one added: ma non troppo). If one accepts the Lento ma non troppo and the MM given in all first editions, one should also accept the 'poco piu animato'... Here I feel Angela Lear is cherry-picking. To me it makes perfect sense that Chopin lowered the tempo for the outer sections but wanted to retain (some of) the fire and bravura for the middle part.
@@benjaminachron1493 I agree with you, but nevertheless the MM is a bit fast for a "Lento" even "ma non troppo". The outer parts played at Chopin's metronome marking are certainly not ludicrous, but seem, for me, more a "Moderato", if not an "Allegretto", than a "Lento". But maybe Chopin did not feel "Lento" as we do now.
@@rigel48 we know from Liszts students that he also wanted this etude slower than the MM. Friedheim reduced the MM to eigth 69, which may or may not be according to Liszt. Pachmann gives 88. My point was that if one accepts the new tempo and MM as from Chopin (And why not? They are in all early editions...) we should also accept the poco piu animato. You cannot have one part of the manuscript, and not the other. Also the statement about 'not in 4-4' seemed strange to me: 2-4 is often described as being slightly lighter and faster than 4-4, but I don't know whether this would apply also to Chopin.
I've tried the tempo here. My main interest though is the con bravura which I think is much more musical when emphasis is given to the thumbs playing thirds. ruclips.net/video/94iNL_6hZhU/видео.html
I heard somewhere that Chopin said this was his favorite melody. Wonderful piano, wonderful hall, wonderful performance. Very moving.
Thank you so much!
Why are people promoting Flixzone in this forum? Smells like spam to me and I let Google know.
You’re interpretation is just perfectly rendered without exaggeration nor “over-doing” it.
Thank you maestro for continuing to exalt my senses to higher levels of beauty of music. It’s a food for my tired body out of this wold’s miseries.
Please continue to live for your music so I will continue to live with it.
Merci infiniment.
That means a lot to me, thank you so much!
Best version of this etude that I have ever heard! Just straight forward without all that virtuosic stuff in there that in my opinion never really fit the mood of this wonderful piece. Thank you for that!
Thank you very much!
For some reason, I have never warmed up to Chopin's music before and yet here I am checking this channel every day in hope to get the next installment of this project.
That made my day. Thank you so much!
@J S It is indeed a weekly rhythm at the moment :) Thank you so much for your interest!
A totally new musical perspective - and beautiful - of a beautiful masterpiece. Thank you Bernhard. Alberto
I am glad to hear that. Thank you so much, Alberto!
My piano teacher, the pianist Denis Zhdanov, made me aware about Berhard's series as I am studying this piece plus Chopin's etude Opus 24-12. Of course, the way Bernhard describes it in his separate introduction video, certain pieces become playable even for piano amateurs focusing on detail rather than trying to be as fast as physically possible. Thank you for such nice performance and thoughtfulness.
The double beat theory is discussed a lot. Sometimes it fits, but not always. Maybe we will never know the true answer. Personally, and also as a listener, I just enjoy a tempo that best characterizes a given piece. If a performance goes to heart, what more could the composer and interpreter have been wishing for? So, maybe, let us forget most tempo marks especially from that time period.
Dear Roland Huettmann, thank you very much for your comment. It is indeed true that a metronome marking is not to be followed blindly. Already in the second half of the 19th century, editors and music writers stated that metronome markings need to be examined carefully and possibly altered. Personally I see the pros and cons of the double-beat option and take it mainly as an inspiration for my interpretations. In the case of Chopin, the slower approach works beautifully, I think.
Please give my best regards to your teacher, Denis Zhdanov. Maybe he would like to get in touch sometime?
All the best for your musical journey, Bernhard Ruchti
Dear Bernard, I gave this link to Denis Zhdanov, my teacher. By the way, this Etude 10-3 has this beautiful melody. I believe that the A section tempo is the tempo one would sing it (one should sing it!) -- and that might slightly differ depending on the singer. Some interpretations found on RUclips are too slow to my taste. The B part with the triton-sequences and the sixths have never been indicated by Chopin to be played fast according to my humble research. Again, it is probably a matter of mood and taste... Your tempo here is well playable -- even for me.)
Chopin indicates "poco più animato" in bar 22 and later "stretto" in bar 51. Both indications allow to increase the tempo according to the passion of the music. Obviously, in a generally slower tempo the grandeur of the passage becomes even more "grand". - As a matter of fact, the A section of the piece was indeed transformed into a slightly kitschy song that came out in Germany in the 1930ies... 😄
Best wishes for your studies!
That was perfect, to my ears. Touching performance, thank you!
Thank you very much, I appreciate it!
Exciting interpretation of this wonderful song. Thank you, Bernhard! ❤️
Thank you so much, Leivison!
Wie andere hier in den Kommentaren hoffe ich täglich auf ein neues Video von Ihnen. Auch diese Etüde kann man nirgendwo anders schöner hören.
Das freut mich sehr zu hören, vielen Dank! Im Moment werden die Videos im Wochenrhythmus veröffentlicht.
Sehr schön. Danke, Bernhard.
Vielen Dank.
This étude is different from no. 1 and 2 in that it has a distinct middle part, i.e. it follows an A-B-A scheme. Thus it's no longer a (maybe boring, for the students) etude but a piece for the concert hall. The chromatic part is a real feast for the ears! And, of course, all the etudes of this opus are "concert pieces", isn't this amazing?
Thank you for this interpretation.
The recording is super.
Thank you very much.
very well played, every note perfectly balanced!
Thank you very much!
super schön! DANKE!
Vielen Dank!
Beautiful, thank you!
Thank you!
I find that this tempo gives the clear aliveness to the staccato and accent by “poco piu animato” and “con forza/con fuoco.” This etude is famous as “Chanson de l’adieu,” but, for me, it would be fit as “Chanson de la romance” like Schumann Op. 28-2.
Thank you very much!
Very nice, cant wait for number 6 to be relased :D
Thank you!
Beautiful 💜
Thank you!
I Love it!
Thank you so much!
This is yet another clear case where the MM makes sense only in double beat.
I have no words
Thank you so much!
The correct speed to enjoy every note
Thank you so much!
Different than a lot of the interpretations but very lovely. I like this version.
Thank you!
Ich hätte eine Frage: In A Tempo Folge 5 sagten Sie zu einer Metronomangabe in Achteln: ,,Im Verhältnis zum Notenwert der Taktangabe (ein Viertel) ist der Wert der Metronomangabe bereits halbiert, nämlich ein Achtel. [...] In diesem Fall können wir im Einzelschlag fortfahren." Haben wir das nicht in dieser Chopin-Etude genauso? Der Takt wird in Vierteln gezählt und das Metronom in Achteln (Achtel = 100). Übersehe ich da etwas? Interessanterweise hieß es in Chopins Manuscript ursprünglich sogar ,,Vivace ma non troppo". Viele Grüße!
Sprechen Sie Englisch? In diesem Fall würde ich Ihre Frage bei Gelegenheit in einem "A Tempo Q & A" Video behandeln. Diese sind jedoch auf Englisch.
Mit dem besten Grüssen, Bernhard Ruchti
@@bernhardruchti Vielen Dank, ja ich spreche auch Englisch :)
Viele Grüße ebenfalls!
@@tarikeld11 hier ist das Video: ruclips.net/video/GDaWWMzW8Pg/видео.html. Beste Grüsse, Bernhard Ruchti
@@bernhardruchti Vielen lieben Dank, dass sie nochmal auf meinen Kommentar zurückgekommen sind! Ich werde es mir heute ansehen :)
This Etude is a difficult case. The metronome marking (quaver = 100) is obviously too fast for a "lento", even with the additional "ma non troppo". In double beat it sounds right for this etude, but not for the others (imo). Maybe we have to follow what Angela Lear wrote in her approach of Chopin's Etudes with the original texts :
"Firstly, the celebrated E major etude, Op.10 No.3, is an example of some of the disparities that exist when comparing Chopin’s autograph manuscripts with various edited publications. It was originally given the tempo Vivace by Chopin, later adding ma non troppo. It is not in 4/4 time and the passages (from bar 46) have no fortissimo or doppio movimento indications. The poco piú animato (often marked at bar 21) is not given in the original manuscripts. Chopin’s ardent dislike of the sentimentalisé approach and exaggerated tempo deviations are well known. Additional tempo changes break down the musical logic and structure of the whole, subverting Chopin’s expressed intentions."
Otherwise, very beautiful and sensitive interpretation by Bernhard Ruchti.
Both autographs have Vivace (one added: ma non troppo). If one accepts the Lento ma non troppo and the MM given in all first editions, one should also accept the 'poco piu animato'...
Here I feel Angela Lear is cherry-picking.
To me it makes perfect sense that Chopin lowered the tempo for the outer sections but wanted to retain (some of) the fire and bravura for the middle part.
@@benjaminachron1493 I agree with you, but nevertheless the MM is a bit fast for a "Lento" even "ma non troppo".
The outer parts played at Chopin's metronome marking are certainly not ludicrous, but seem, for me, more a "Moderato", if not an "Allegretto", than a "Lento".
But maybe Chopin did not feel "Lento" as we do now.
@@rigel48 we know from Liszts students that he also wanted this etude slower than the MM. Friedheim reduced the MM to eigth 69, which may or may not be according to Liszt. Pachmann gives 88.
My point was that if one accepts the new tempo and MM as from Chopin (And why not? They are in all early editions...) we should also accept the poco piu animato. You cannot have one part of the manuscript, and not the other.
Also the statement about 'not in 4-4' seemed strange to me: 2-4 is often described as being slightly lighter and faster than 4-4, but I don't know whether this would apply also to Chopin.
It plays just fine at double beat, on tempo.
I've tried the tempo here. My main interest though is the con bravura which I think is much more musical when emphasis is given to the thumbs playing thirds. ruclips.net/video/94iNL_6hZhU/видео.html
It’s too slow.