This is the best video I've ever seen explaining rubato and demonstrating it. You have such a good way of explaining things verbally and musically. Love it!
I was always wondering: In prints of Chopin’s handwritten original scores, there’s almost always nothing but the notes, barely any dynamics, and none of the Italian expressions that fill the scores that we practice with (like smorzando, calando, piu/meno mosso etc.). Did he add that or dictate those himself, or was that added later on by transcribers or maybe even former to better explain how to play his music? If you know anything about that, I’d be extremely interested to know as a young music composer. Btw your playing is beautiful and my oh my your hands. Muscles all around 💪 (almost as big as Rubinstein’s 😉)
I'm not sure of the exact answer, but I use the Paderewski edition for the Ballades and that and Henle for the rest of Chopin. I visited Mallorca and did see his original score of The Preludes. And, they were pretty bare. Thanks for the compliments on my hands. That means a lot, especially since I temporarily lost the use of my right hand 5 years ago. More on that here... lisaspector.com/left-hand-lemonade/
@@LisaSpector That’s amazing that you recovered, would have never guessed from watching you play. You’re definitely a hero in my book. I’m working on a collection of Swiss folk dances right now, I want them to be one day what Chopin did for Poland with the Mazurkas (and Bartok with the Romanian folk dances). I’d love to be friends and keep in touch, and I’ll support as much as I can. Maybe I can send you one them to you and dedicate them to you if you like them? Anyway, have a nice night and thanks for the response.
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This is the best video I've ever seen explaining rubato and demonstrating it. You have such a good way of explaining things verbally and musically. Love it!
Aw, that just fills my heart with so much joy. Thanks Adam!
I was always wondering: In prints of Chopin’s handwritten original scores, there’s almost always nothing but the notes, barely any dynamics, and none of the Italian expressions that fill the scores that we practice with (like smorzando, calando, piu/meno mosso etc.). Did he add that or dictate those himself, or was that added later on by transcribers or maybe even former to better explain how to play his music? If you know anything about that, I’d be extremely interested to know as a young music composer. Btw your playing is beautiful and my oh my your hands. Muscles all around 💪 (almost as big as Rubinstein’s 😉)
I'm not sure of the exact answer, but I use the Paderewski edition for the Ballades and that and Henle for the rest of Chopin. I visited Mallorca and did see his original score of The Preludes. And, they were pretty bare.
Thanks for the compliments on my hands. That means a lot, especially since I temporarily lost the use of my right hand 5 years ago. More on that here... lisaspector.com/left-hand-lemonade/
@@LisaSpector That’s amazing that you recovered, would have never guessed from watching you play. You’re definitely a hero in my book. I’m working on a collection of Swiss folk dances right now, I want them to be one day what Chopin did for Poland with the Mazurkas (and Bartok with the Romanian folk dances). I’d love to be friends and keep in touch, and I’ll support as much as I can. Maybe I can send you one them to you and dedicate them to you if you like them? Anyway, have a nice night and thanks for the response.