Chopin Prelude in B Minor Op. 28 No. 6 | John-Henry Crawford

John-Henry Crawford plays Chopin B Minor Prelude Op. 28 No. 6 for piano
transcribed for cello by George Goltermann.
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[@kennethlarter9335]

I keep coming back to this beautiful rendition. Thank you, JH.

[@dfdfdfdfdfdf1020]

When I try to play this on the piano, I always think the melody should be played by a cello. This is exactly what I hear in my head! Bravo!

[@tomswiftyphilo2504]

same!

[@kennethlarter9335]

This is my favorite Chopin prelude, but have never heard it played on the cello. Thank you John-Henry. Beautiful and soulful.

[@cellocrawford]

Thanks for listening!

[@elliotdrosen]

Oh my. I was not planning on tears.

[@più_lento_28_13]

magnificent

[@kennethlarter9335]

I wanted to listen to this again. My favorite Chopin prelude. Beautiful.

[@eissaalqadi3319]

Wow
Great playing
Great expression
Great sound
Great contact with the instrument
You motivated me to work on this piece ❣❣
❣❣❣❣

[@910K33]

So beautiful. Full of emotions. Thank you.

[@gracesanchez3881]

I still believe it, you play so good! Greetings from Mexico.

[@MusicalMetamorphosis-]

This was so beautiful, but I'm wondering about something for myself. The original score says: soto voce. Soto voce is like a whisper (not the whole piece). Would that sound good on the cello? Otherwise, beautiful version. Loved it.

[@tomswiftyphilo2504]

Maybe you already considered this and it didn't work: my one quibble is that you should change the key. Just before the end, the melody comes to rest on a low B and I think going up the octave because of the limitations of the instrument causes you to miss out on the emotional weight you can deliver with that low note.

[@gregrogers3243]

Playing this, I don't really see the arpeggios working in a higher key - as you cross three strings. I suppose you could shift through them, but that would eliminate the ringing sound when you play a chord across the instrument. Actually, he is fingering through most of them, losing that ringing quality. My version was arranged by Watson Forbes, rather than Goltermann. Also, the ending is a dying.. a fading out, so the low ending seems appropriate. And my fingering is a lot different. He uses a lot of fourth finger, which is not my most resonant sound. I use more rubato, dolce and changes in dynamic. I have also added a repeat, right before the ending so that it becomes more like a 4 minute piece instead of a 2 minute piece. I find it interesting that he has an orchestra accompanying him there in his living room, and note that there is suddenly a mute on the cello for a bit at one point, so I guess multiple "takes" to get the look he was going for (except for the mute).