Not really. Some parts should be faster, and there are too few changes in dynamics and tempo. See Pollini's recording, which is not perfect, for comparison.
I love Sokolov, but he doesn't really do the main and most remarkable point of the etude, which is the cross rhythm between the hands. He plays the right hand as though it were in the rhythm of the left hand, and it's not. (Chopin took pains -- and lots of ink! -- to make it not be.)
He actually does keep the triplets in the right hand. If you listen at a slower speed you can hear it clearly. That's why it sounds completely connected throughout. If he didn't keep the triplets there would be breaks between the measures.
@@michaelbrewer7316 That means I wasn't clear enough about what I meant. He plays each group of 6 in the R.H. as though it were '3 units of 2' rather than '2 units of 3' -- which is how most people play it, and which doesn't at all create a break between measures. When it's done this way, there are no real triplets in the R.H. at all. It doesn't lead to any break between the measures; it's just an issue of which notes sound emphasized.
@@michaelbrewer7316 OK -- here's an interesting video ruclips.net/video/K6qFaVF17Lw/видео.html that has recordings of this piece by numerous "historic" pianists. The one that I'd say does this aspect the best is Irene Scharrer (at 20:40). Several of the others do it too. None of them *blatantly* emphasize the triplets in the right hand, but the basic point is to *avoid* the natural tendency of making the RH figure sound like groups of *2*, which is the case because of where the LH notes are. (Sokolov most definitely makes it sound like groups of 2, which -- I think Chopin would say, pointing to the notation which he took such trouble to write :-) -- is simply incorrect., and misses the point of the etude.)
@@larchmontmark1 Hi and thanks for your comments. I've been wondering about this too, wondering why it wasn't written in a fast 6/8 or 2/4 with six 16th notes in RH against three 8th notes in LH. Yet when it is played as written really fast/presto it's hard for the ear to pick up the triplets and it naturally sounds like two beats to the measure. I guess the difference between what you hear with Sokolov versus these others is pretty subtle. Listening to LaPlante, it also sounds in 2 but with more LH emphasis than Sokolov. An interesting experiment would be to play as a duet with another person so one could really emphasize the triplets, or perhaps enter it into notation software with accents on the triplets to hear more of a difference.
Piękno muzyki Fryderyka Chopina to fenomen graniczący z cudem. Chopin to najpiękniejsza spuścizna dla ludzkości. Wspaniałe wykonanie, bardzo dziękuję.
The best performance of this music without doubt.👌👍
Not really. Some parts should be faster, and there are too few changes in dynamics and tempo. See Pollini's recording, which is not perfect, for comparison.
So clearly!
well but there is also Alfred Cortot
Nothing's perfect beautiful though
Fast:)
Alejandra Sarmiento It's perfect!
I love Sokolov, but he doesn't really do the main and most remarkable point of the etude, which is the cross rhythm between the hands. He plays the right hand as though it were in the rhythm of the left hand, and it's not. (Chopin took pains -- and lots of ink! -- to make it not be.)
He actually does keep the triplets in the right hand. If you listen at a slower speed you can hear it clearly. That's why it sounds completely connected throughout. If he didn't keep the triplets there would be breaks between the measures.
@@michaelbrewer7316 That means I wasn't clear enough about what I meant. He plays each group of 6 in the R.H. as though it were '3 units of 2' rather than '2 units of 3' -- which is how most people play it, and which doesn't at all create a break between measures. When it's done this way, there are no real triplets in the R.H. at all. It doesn't lead to any break between the measures; it's just an issue of which notes sound emphasized.
@@larchmontmark1 I myself am working the etude and would like to hear a version where they do it right if you have an example
@@michaelbrewer7316 OK -- here's an interesting video ruclips.net/video/K6qFaVF17Lw/видео.html that has recordings of this piece by numerous "historic" pianists. The one that I'd say does this aspect the best is Irene Scharrer (at 20:40). Several of the others do it too. None of them *blatantly* emphasize the triplets in the right hand, but the basic point is to *avoid* the natural tendency of making the RH figure sound like groups of *2*, which is the case because of where the LH notes are. (Sokolov most definitely makes it sound like groups of 2, which -- I think Chopin would say, pointing to the notation which he took such trouble to write :-) -- is simply incorrect., and misses the point of the etude.)
@@larchmontmark1 Hi and thanks for your comments. I've been wondering about this too, wondering why it wasn't written in a fast 6/8 or 2/4 with six 16th notes in RH against three 8th notes in LH. Yet when it is played as written really fast/presto it's hard for the ear to pick up the triplets and it naturally sounds like two beats to the measure. I guess the difference between what you hear with Sokolov versus these others is pretty subtle. Listening to LaPlante, it also sounds in 2 but with more LH emphasis than Sokolov. An interesting experiment would be to play as a duet with another person so one could really emphasize the triplets, or perhaps enter it into notation software with accents on the triplets to hear more of a difference.