1, C Major (00:00). A melody ascends a small, lovely hill, and then immediately after a larger, lovelier one. Despite this prelude’s diminutive size it’s a sophisticated and even deceptive work. For instance: it’s almost impossible to avoid hearing this as 3/8 (the first LH note becomes an upbeat, and the triplets are inaudible), even though the entirety of the upper RH melody occupies only the second half of each bar. Another clever trick - Chopin at several points deploys quintuplets to give the impression that the figuration is speeding up (because the RH enters earlier in each bar), even if the tempo does not change. 2, A minor (00:39). Probably pips the last movement of the Bb minor sonata as Chopin’s weirdest creation. It starts in E minor, an arid melody slumped over a grinding bass (Bydlo, anyone?), and wanders tonally until we reach what sounds like C#min (m.11 - the LH, now at its most dissonant, implies a iiø7 in that key). It is only when the F suddenly enters (we are expecting F#) in m.16 that we move toward A min, a fact confirmed at the close by an absurd, chorale-like cadence. But underneath all of this is some very clever writing - viz. the voice-leading in the LH, which moves (compare the E min prelude) in careful semitone shifts, or the opening three notes of the melody, which change their rhythmic configuration every time they appear (mms.2-4, 8-9, 14-16). 3, G Major (2:49). A bright melody floats over a running LH, and is repeated once with elaboration. This is rather like a hands-inverted counterpart of Chopin’s Op.10 No.8. 4, E minor (3:44). A single B aches downward toward the tonic E, misses it the first time, and wearily hauls itself up to start all over again (m.12). The RH keeps to only the smallest scalar steps, finally opening up at the climax into two agonised diminished 7ths (mm.16-17). The same gravitational pull dragging the RH down also afflicts the LH, which is a masterclass in chromatic voice leading and wanders into some very daring harmonic territory (e.g., the Fø7 at m.15). One little detail I especially love is how the Bb in m.21, which you inevitably hear as a A# in a German augmented 6th, drops downward instead of resolving conventionally to B (we finally get an actual - deceptively spelled, in its most dissonant inversion - augmented 6th resolving conventionally in m.23). 5, D Major (6:15). Another fun ball of oddness. A recurring motif is the ambiguous B/Bb oscillation (as neighbour tones to an A), which in is turn aggressively underscored with a hemiola (semiquavers in groups of 4). The LH figuration is striking, haphazardly alternating tiny and huge intervals (m.14 etc - reminds me of Feinberg, of all things), while the RH part modulates with surprising fleetness (in the first 16 bars, we go from D Maj to A min, E min, and B min). 6, B minor (6:42). A gorgeous study in manipulation of meter. We get three standard four-bar phrases in 3/4, before the climax on the Neapolitan at m.13 is highlighted by an implied shift to 2/4. From here on, 2/4 seems to exert a subterranean pull on the rest of the work - the cello-like LH phrase that begins at m.16, and its counterpart at m.20, is basically in 2/4. Chopin even highlights that the 2/4 continues into m.22 with the accented A natural in m.22, and hints at 2/4 again in the prelude’s dying moments. (A little aside - that A natural must be one of the most enigmatic/inspired single notes in Chopin’s oeuvre, alongside the Eb in the F maj prelude’s closing bars. Its main function is to soften the minor sound of the closing, making it consoling rather than bleak, and secondarily to close the gap between the B and F# of the closing phrase.) 7, A Major (9:27). A wisp of a mazurka, except that no self-respecting mazurka would have those long pauses every second bar. A dominant 9th chord pops up in m.5 - its otherwise strange presence is justified by the fact that it preserves the pattern of harmonisation in 6ths, and produces some nice voice-leading as the F# rises to a G# in m.6. 8, F# minor (10:33). A harmonic and figural tour de force. This prelude pulls a remarkable number of harmonic stunts, and although you can think of many of these as tonal shifts, it’s often much simpler view them as the outcome of superb and very creative voice-leading. Some moments to highlight: in m.3, the ii-V progression from the second half of m.2 is transposed into C# min and B min, before the F#7 slides down into F7, which in turns slides into a Fo7 that prepares the return to F# min via C#7. (Chopin again deploys chromatically sliding dominant 7ths in m.7-8.) Mm.11-18 is just a relentless stream of inspired moments - from Bb maj we move into what appears to be Eb min (at the end of m.12), before the Neapolitan of that key (Fb maj) becomes reinterpreted as the IV of Cb maj (end of m.14). Immediately after this, Chopin appears to seriously ramp up for a cadence in Eb min from mm.15-18 - he repeats a ii-V in that key four(!) times - before F becomes enharmonically interpreted as E# in the last beat of m.18 and we find ourselves miraculously back in F# min again. Just _ridiculous_ stuff. And there’s more - as we move from m.21 to 22, building up to the climax, we move from C# min to G(!) min (for confirmation that we’re not in C# min anymore, look at the RH 32nd notes in m.22), and from there the dominant of G min is reinterpreted as the German augmented 6th of F# minor, which is how the climax enters in m.23. The climax itself is harmonised gorgeously - the harmony and melody fall in a chain of 3rds, while Chopin avoids raising the leading note (E instead of E#). The effect is to introduce a sort of ecstatic modal colour. One last point which I don’t think is made often enough - the figuration Chopin uses is designed to make these harmonic ducks and swerves more palatable to the ear by fuzzing up the harmonic identity of each beat. Each group of 8 RH 32nds has outer notes which reinforce the melody at the octave, while the four inner notes are usually an enclosure (sometimes chromatic, sometimes diatonic) followed by two harmonic notes. But Chopin varies this surprisingly often - sometimes the inner 32nds incorporate scalar figuration, or contain just one neighbour tone. 9, E Major (12:34). A warm, rich, melt-in-your-mouth thing. And yet, despite how natural it sounds, it is harmonically extremely dense - counting conservatively, there are around 24 distinct chords deployed across 12 bars. Much of this density is generated, yet again, by painstaking voice-leading - in the abstract, it’s almost impossible to imagine a piece in E moving from A to climax on an Ab 6/4 within the space of a single bar (mm.7-8), yet Chopin manages this with little more than a descending bass line. Also worth noting is the rhythmic variety of the work, which juxtaposes triplets, dotted, and double-dotted rhythms. (Aside - Chopin’s manuscript suggests that he thought the dotted rhythms should be treated - as they were in Bach’s time - as triplets, but it’s much more interesting to separate out these three layers.) 10, C# minor (14:25). Fleet, mothlike cascades alternate with contrasting mazurka responses (note how in the latter the accents all fall on weak beats). In a nice contrast to the harmonic density of preceding two preludes, all the runs are in C# min and F# min, except for mm.8-9 where the same progression is transposed into F# minor. There’s also a nice touch with the dramatic intervention of an octave A (carried over into the next bar) in m.16. 11, B Major (14:59). A simple showcase of a poignant melody. Except, of course, that the way Chopin places implied accents in the RH makes it impossible to hear as anything but 3/4, even when the LH mostly (but not always) stays in 6/8. And then, when this pattern is steady in our ear, it is (gently) tugged from under our feet in the last five bars, there the duple meter suddenly becomes clear. 12, G# minor (15:37). A wickedly clever demonstration of hemiola on the metric and hypermetric levels. A couple of quick observations. (1): The LH starts out in a 3-note pattern that emphasises the meter, but then abandons this after 4 bars. (2): At m.13 a second hemiola idea appears in the RH, comprising a 4-note rising and falling motif, complementing the LH. (3): At m.18, the hemiola is reinforced further when the _harmonic rhythm_ syncs up with the RH 4-note motif and the LH 2/4 pattern. (4): At m.21, the rhythmic manipulation extends even deeper, into the hypermeter. While all the while we have been treated to 4-bar phrases, we now have a 3-bar phase, 4-bar phrase, and and 1-bar phase in quick succession. (The motif introduced in the 3-bar phrase is also repeated at the closing, as a kind of spasm, while the closing 3 bars again revert to 2/4).
13, F# Major (16:41). A placid, expansive melody cast over a gently speaking LH (if you’re fond of parallels, there’s one to be found between the LH’s use of enclosures here and the RH of the F# min prelude). The middle section is especially lovely, with lots of delicate counterpoint in the LH and beautiful appoggiaturas in the RH - plus surprising Lydian colour in m.26. 14, Eb minor (21:39). A rhythmic and harmonic hall of mirrors, but (unlike others in this set) one that’s pretty open about its deceptiveness. Opportunities for unearthing hidden melodies and accents abound. 15, Db Major (22:04). The A section is lovely and well-known enough that it needs no introduction, but for me the real highlight of this work is the B section in C# minor, which is proof that you can build incredible musical intensity with relatively simple material. It begins as a dark pulsation featuring a creeping (octave-displaced) LH melody, building into the ringing, medieval-sounding open 5th in m.35. From then on, the section takes on a massive, monumental quality that is very surprising, given how tenderly the work opens. There’s a lot of clever harmonic decisions Chopin makes here. For a start, the second chord in m.40 sounds like a B major 13th (missing its 5th), but is retroactively turned into a G# min chord by the entrance of the A# in the bass. And where we expect the dominant chord in m.42, we get instead an agonised augmented harmony. The transition out of the B section is wonderful, with suspensions in mm.61-62 that seem to stop time. 16, Bb minor (29:25). A descent into madness. Comes at you full-on and basically proceeds to only become more and more demented as the work goes on. But since this is Chopin, it’s still stupidly sophisticated. Take the LH, for instance: out of every 3-note grouping, Chopin first slurs the latter two notes, then the whole group (m.8, when this becomes physically possible), and the first two (when the bass re-enters like some behemoth war machine at m.18). Interestingly, Chopin’s absurdly long pedal indications - basically only lift the pedal when the harmony changes - make lots of this LH phrasing impossible to hear, so what’s going on here? There are nice harmonic shifts too (m.26-29 goes from C# to B to A minor before gliding into Bb with crazy smoothness), and the RH figuration is an encyclopedia of dazzling ways to manipulate ascents and descents on the keyboard (I especially like the 3-note broken octave figuration at m.8). 17, Ab Major (30:29). This is extremely beautiful. What am I supposed to say? Yes, there are nice modulations (m.55!) and countermelodies, and a luminous tonic pedal point in the closing section, but it’s really just a stunning melody, perfectly presented. 18, F minor (33:52). A musical seizure, comprising wildly concatenated, hyper-dramatic gestures and little else. You could try to explain this prelude by saying it’s an improvisation or fantasia, but doing this is a bit like trying to explain the angles out of Picasso - the weirdness is the charm. 19, Eb Major (34:48). Presents as a delicate etude (much like the Op.25 No.1), but it’s deceptively and ferociously difficult (it’s probably up there with no.16 in terms of sheer technical demand). Nice hemiolas at mms.29-32 and 65-68. 20, C minor (35:57). An ultra-concentrated chorale. Its second half features a LH passus duriusculus over which the RH inserts inspired counterpoint (it’s a criminal offence for a pianist not to very the voicing on repeat, there’s so much good stuff there). There’s a controversy over whether the last chord in m.3 is a major or minor C chord, but both chords work equally well (although to very different effect). 21, Bb Major (38:04). The A section comprises a simple melody slung over two voices in the LH moving in opposite directions (top voice usually diatonic, bottom chromatic). This probably qualifies as one of Chopin’s loveliest textures. The Gb that appears in the LH at m.5 (and m.14) presages the middle section’s headlong plunge into an ecstatic, vibrating Gb maj (Chopin pulls a similar move in the Op.16 rondo). 22, G minor (41:04). Yet another piece in 6/8 which pretends - at least in the opening - to be in 3/4 (your ear tends to hear the first bass note of each bar + the two RH chords as landing on each of the beats). There is also quite a lot of rhythmic complexity in 13-16, where the LH traces out a clear 6/8 while the RH wants you to believe that its chords are where the beats are landing. The sudden Db7 in m.6 can be viewed as a chromatic slide or as a tritone substitution for G, but in any case anticipates the gloriously madcap move into Db Lydian(!) at m.17. 23, F Major (41:48). Very pretty, but strikingly efficient in construction: you have a 4-bar melodic figure that repeats itself 5 times, rising by a 4th or 5th every time, with the only real variation on its 4th occurrence (m.13) to retrieve it from the Bb tonality into which it has wandered. But even in this straightforward work there’s a little mystery, in the form of an Eb that suddenly rings out in the second-last bar, apparently suggesting the piece ends on the dominant (of Bb). There’s two possible explanations for this note. The first is that it resolves to the low D that opens the next prelude (or, if you are inclined to Schenkerian extravagance, the thundering Ds that close the set as a whole). The second - which I find more persuasive - is that it’s really just there to add a tiny injection of colour, since the F tonality is well-enough established that the Eb doesn’t really unsettle it (and the Eb recalls bars 8 and 12 in any case). 24, D minor (42:33). An epic narrative - a chant-like melody wrestles with a motoric, throbbing LH. It’s easy to forget how unusual this piece is in integrating typically "decorative" elements as key parts of the melody. For instance, violent trills (ms.10, 16, 28 etc) signify modulatory junctures, while ascents and plunges that swallow up the whole keyboard conclude many phrases. Also pretty neat is how augmented harmonies are used to bridge modulatory gaps - the Eb+ at m.38 is used very expressively to move from E min to C min, while the Db+ at m.46 is formed when Chopin first hoists up the Ab (followed by the Db) when moving from Db maj to D min. The work climaxes by cresting two huge waves - the first an chromatic scream over a German augmented 6th in mm.55-56, and the second a precipitous octave descent over an A7♭9 (sus4) (I hear the RH Bbs as harmonic) in mm.61-62. In the coda (m.66 onward) Chopin alternates the tonic with a Do7, which makes for a particularly bitter, “sideways-sounding” sort of resolution. (Stray observation - at m.73 Chopin asks for the pedal is to be depressed but never specifies when it should be lifted. Almost all modern pianists take the pedal off when the last downward run commences, but it would be interesting to follow Chopin’s instruction. Instead of getting three clear black bell-peals, you catch the dissonance of the run and end up with a sort of primordial reverberation.)
@@AshishXiangyiKumar I don't know why but I'm happy that you wrote so much text about No. 8. It's my favourite out of the bunch and you did also talk about the figuration. I analysed it too, and it's also very interesting to follow, if the first note is a suspended note (non-harmonic) or a harmonic note and how that changes to build up stress/climax or vice versa (after the climax for example). And there's lots more to talk about the fascinating Coda, with the melody standing still on the C# for a long time. However I didn't like Pogorelich's perfomance for this particular piece, way too restrained in my opinion. I don't hear the "ff"s enough, I think Yuja Wang has a nice interpretation.
I think it’s worth mentioning that the left hand on Prelude no 2 appears to be based off of the Dies Irae motif, which would certainly provide more context for the piece. Wonderful descriptions btw, loved reading through all of them
I love how Pogorelich dares to go against what Chopin wrote, for example ignoring pedal markings and playing staccato instead of legato. I was also expecting a big burst of energy at the start of prelude no. 8 to have a contrast with the previous prelude, but he couldn’t have started more gently and misterious.
It in no way diminishes Pogorelich to remember that all these early DG albums were inspired by his teacher and beloved wife, Aliza Kezeradze, who died in 1996. I was so touched by their love story and achievements that they inspired two characters in a novel, The Summer We Skipped Woodstock, which ends with a piano competition.
So great to see you back, Ashish. I've gotta say, I never appreciated Pogorelich until I watched your videos on his Chopin sonatas and scherzos, and now this sublime recording of his preludes. There are other pianists I enjoy more, but Pogorelich is almost always interesting and oftentimes makes me feel like I'm experiencing a piece of music for the first time.
I completely agree with the caption, ever since I listened to these recordings about a year ago it’s hard to listen to other pianist’s interpretations. Pogorelich always amazes me no matter how many times I listen.
I'm not going to lie. I never was a big fan of Pogorelich's playing. But man does he play. But man does he dare. I don't think I've ever heard the F# maj. prelude played so beautifully, with the middle section so well phrased. Incredibly moving recording.
I LOVE listening to Pogorelich’s recordings (particularly Chopin) because they’re always odd in the most incredible ways. I find he often either a) ignores Chopin’s pedal and phrasing marks or b) follows them very strictly. Makes for an incredible listening experience. Examples: nos. 1, 2, 5, 9 (he separates all the voices), 14 (I’ve never heard a faster rendition), 16 (phrasing in LH at 30:04 and 30:17 and the lack of hesitance with the tempo unlike many pianists at 30:09), and 21
Buongiorno Ashish! First of all wish you and all your listeners a Happy New Year ! Very grateful to you to begin my morning with this magnificent interpretation of Chopin's Preludes! Rare are the musicians who are so profoundly connected with composers, and with God, or whomever one could believe in, to make any music sound as never heard before... And Pogorelich is here one of these few!
Chopin is one of the few composers who can truly scare me, and No. 2 in A minor is genuinely threatening and creepy no matter how many times I hear or play it.
Yay! AXK is back! This is a great recording of the Preludes. I like Pogo's slow tempos for the slow preludes. I specifically like that he *doesn't* play the 16th notes in #9 as triplets, so the 16th/32nd notes hit twice after the left-hand accompaniment. And that's the best performance of #10 I've ever heard, the contrast between the feather-light downward runs and the slower answers.
Although Pogorelich comes across to me as too slow at times (no. 7 for example), he's brilliant when it comes to playing the slow Preludes. His number 13 was truly a bliss (I gotta try and play it at his speed someday. I also immensely enjoyed hearing number 17.
Extremely slow and the Conservative pedalling brought in by so called purists make some of these sound rather thin. Chopin specifically refused to use a metronome, though he insisted they were played as they were written. One or two of the preludes don't really work well with lingering tempos.
@Augustus Weinstock Good luck with the Prelude (it can be tricky, but I hope you make it). And about that bracket, I've done closing it now (must not have noticed it, when I was writing the comment). Greetings and once again, good luck with your playing.
@Augustus Weinstock The way I see it in the sheet music, you should figure it out. Start with both your hands, and then the two hands should interchange with what they play. So you should go: left, right, left, right, left, right, left, right, left, ending with the C-sharp in the left hand. The interchanging of hands should then create a polyrhythm. I hope that's gonna turn out helpful.
Pogorelich certainly is unique among the Chopin pianists. When I was in my 20s (about 20 years ago) I didn't understand his interpretations much, they didn't get to me. But today my way to hear Chopin has changed, possibly because of age and because by now I have learned a lot about the composer. To me Pogorelichs approach is incredibly logical and unsentimental and that is increasingly attractive to me now. There is so much to hear in Chopin's compositions beyond the "sweet salon sound" that I think it is actually insulting to his ingenious intelligence to play him like a side dish for a romantic dinner. While years ago I wanted the soft, tender, emotional sound, today I want the contrast, I want to hear the counterpoint which Chopin was a master of, the edges and the thoughts. Chopin was quoted several times (including by his friend, the highly intellectual painter Delacroix) stating how purely logical music is. He also had an aversion against over-sentimental interpretations and anything over-exaggerated in general. When I learned about that I was becoming more open to pianists with exactly this kind of approach to Chopins music (Richter is another one). I hear Chopin with my mind these days, the underlying emotions in the music have become more subtle and almost instinctive, rather than forced, and I enjoy that a lot more. Hope that makes sense.
The Ab is a gem above all gems. What glorious, gorgeous hues of colour burst forth from this work. I love this prelude the most and Ivo and Pollini are the two who play is from the heart.
Pogorelich plays the E Major prelude just like the nickname it was given by Hans von Bulow. Its a deep, solemn thought and grand vision of a future. This mysterious interpretation sets it apart from almost every other pianist, who either play the E Major prelude too fast, like a military march, or too loud, like an outdoor royal procession.
Totally agree... it's meditative, profound, grand and well-considered. It develops organically. It's full of surprises too. These are all brought out properly in this rendition.
exactly what i thought, i noticed this prelude specifically here, its played just how i always thought it should be. i think its the hardest prelude of the set to master, it seems nearly every "great" pianist manages to absolutely butcher it.
Les interprétations de Pogorelich sont souvent bizarres, voire absconses... Celle-ci est merveilleuse, bouleversante ! Pogorelich donne ici à cet opus 28 toute sa cohérence, toute la palette des émotions humaines rassemblées dans une même entité. C'est magnifique !!
An incredible album. Pogorelich tells a coherent and cohesive story with these preludes. The careful listener can really sense the organic unfoldment of the storyline with each successive piece. The warm, crisp and muted sound really adds to this effect. I especially love it when the slower pieces are taken at a thoughtful and meditative pace. It really opens up space for the complete story to be told with all the beautiful nuances that come with it.
I remember the 1st time I heard this recording and realized just how awful my playing is because of my overuse (cheating) with the pedal. I am also embarrassed to admit that upon seeing the D major prelude I kinda' knew then and there that it'll be swingin' a mop for me, for the next 60 years. But I'll never give up !!!
Have you heard Sergio Tiempo’s Prelude No. 16? He truly encapsulates that “madness” you were talking about (and also manages to play the impossibly fast runs with incredibly precise crescendos and decrescendos!)
IP is one of the most individualistic and technically superb pianists of his generation. Imaginative, original and creative in his exploration of the music he plays. As with GG I would never say his recordings should be recommended as a “go to” recordings but very much worth every minute all the same.
Incredible realization of short musical essays that will touch the soul of mankind so long as there are those who are able to listen in this harsh world of deaf defying rap.
A highly subversive, yet interesting rendition of the preludes. Being somewhat a harmony purist myself, Pogo's efforts are a little too much for me, but they certainly make the listening experience very interesting.
I wish Chopin could come back and hear his works being played by modern performer on modern pianos. I’d like to see his face when he heard them the first time. And when he tried our pianos. I don’t think he was a very easy person to impress, but I think that would do it.
No-one can perform Chopin's work with the sophistication and sincerity of heart that Ivo Pogorelich has achieved. May he live long, happily, and always be held in esteem. He brings life to these Preludes.
I wonder if Scriabin had the first prelude of this work when he was writing his own 24 preludes; both in C major, both short, both playing with tuplets over a duple bar. Could be a coincidence, but it was the first thing that came to mind when I started listening to this work.
what I find is very interesting is that at the end of No. 2, at 2:17, there is the same exact chord progression (same chords, inversions, and bass line) as the beginning of No. 9.
Anyone noticed something in the Hades prelude? Same key as 2nd Sonata Almost identical rhythm in left hand as in the theme of the 2nd Sonata Beginning 29:30 Identical chord progression in the first eight bars of both pieces. Perhaps in an alternate universe, Chopin used this as the fourth movement of the second Sonata instead of what we know it to be 🤔 it would certainly fit.
It's good. But try Alkan's Sonata, Quasi-Faust movement. Preferably, played by Hamelin. Quite possibly the biggest crescendo and climax in all piano music.
The last measures of D minor #24 sound fantastic with the pedal held all the way. Sokolov does this (and so much more) in his fantastic recording: th-cam.com/video/d9TMlwrgQbQ/w-d-xo.html
For anyone interested in hearing even more extreme live pefromances of this piece by Pogorelich, check out th-cam.com/video/iAstPxEyBiU/w-d-xo.html and th-cam.com/video/4pCjNNYNrc4/w-d-xo.html
oh crap! I didn't even realize you posted this today or yesterday. I'm used to your stuff from a few years ago appearing in my feed and it being just fabulous. I wasn't even going to click because Pogorelich and I don't agree on much, interpretation-wise. Although I CERTAINLY respect that his fingers could probably stab through a treetrunk like the beak of a woodpecker. Anyway, I appreciate the recommendation. It's an awesome recording. Thank you!
1, C Major (00:00). A melody ascends a small, lovely hill, and then immediately after a larger, lovelier one. Despite this prelude’s diminutive size it’s a sophisticated and even deceptive work. For instance: it’s almost impossible to avoid hearing this as 3/8 (the first LH note becomes an upbeat, and the triplets are inaudible), even though the entirety of the upper RH melody occupies only the second half of each bar. Another clever trick - Chopin at several points deploys quintuplets to give the impression that the figuration is speeding up (because the RH enters earlier in each bar), even if the tempo does not change.
2, A minor (00:39). Probably pips the last movement of the Bb minor sonata as Chopin’s weirdest creation. It starts in E minor, an arid melody slumped over a grinding bass (Bydlo, anyone?), and wanders tonally until we reach what sounds like C#min (m.11 - the LH, now at its most dissonant, implies a iiø7 in that key). It is only when the F suddenly enters (we are expecting F#) in m.16 that we move toward A min, a fact confirmed at the close by an absurd, chorale-like cadence. But underneath all of this is some very clever writing - viz. the voice-leading in the LH, which moves (compare the E min prelude) in careful semitone shifts, or the opening three notes of the melody, which change their rhythmic configuration every time they appear (mms.2-4, 8-9, 14-16).
3, G Major (2:49). A bright melody floats over a running LH, and is repeated once with elaboration. This is rather like a hands-inverted counterpart of Chopin’s Op.10 No.8.
4, E minor (3:44). A single B aches downward toward the tonic E, misses it the first time, and wearily hauls itself up to start all over again (m.12). The RH keeps to only the smallest scalar steps, finally opening up at the climax into two agonised diminished 7ths (mm.16-17). The same gravitational pull dragging the RH down also afflicts the LH, which is a masterclass in chromatic voice leading and wanders into some very daring harmonic territory (e.g., the Fø7 at m.15). One little detail I especially love is how the Bb in m.21, which you inevitably hear as a A# in a German augmented 6th, drops downward instead of resolving conventionally to B (we finally get an actual - deceptively spelled, in its most dissonant inversion - augmented 6th resolving conventionally in m.23).
5, D Major (6:15). Another fun ball of oddness. A recurring motif is the ambiguous B/Bb oscillation (as neighbour tones to an A), which in is turn aggressively underscored with a hemiola (semiquavers in groups of 4). The LH figuration is striking, haphazardly alternating tiny and huge intervals (m.14 etc - reminds me of Feinberg, of all things), while the RH part modulates with surprising fleetness (in the first 16 bars, we go from D Maj to A min, E min, and B min).
6, B minor (6:42). A gorgeous study in manipulation of meter. We get three standard four-bar phrases in 3/4, before the climax on the Neapolitan at m.13 is highlighted by an implied shift to 2/4. From here on, 2/4 seems to exert a subterranean pull on the rest of the work - the cello-like LH phrase that begins at m.16, and its counterpart at m.20, is basically in 2/4. Chopin even highlights that the 2/4 continues into m.22 with the accented A natural in m.22, and hints at 2/4 again in the prelude’s dying moments. (A little aside - that A natural must be one of the most enigmatic/inspired single notes in Chopin’s oeuvre, alongside the Eb in the F maj prelude’s closing bars. Its main function is to soften the minor sound of the closing, making it consoling rather than bleak, and secondarily to close the gap between the B and F# of the closing phrase.)
7, A Major (9:27). A wisp of a mazurka, except that no self-respecting mazurka would have those long pauses every second bar. A dominant 9th chord pops up in m.5 - its otherwise strange presence is justified by the fact that it preserves the pattern of harmonisation in 6ths, and produces some nice voice-leading as the F# rises to a G# in m.6.
8, F# minor (10:33). A harmonic and figural tour de force. This prelude pulls a remarkable number of harmonic stunts, and although you can think of many of these as tonal shifts, it’s often much simpler view them as the outcome of superb and very creative voice-leading. Some moments to highlight: in m.3, the ii-V progression from the second half of m.2 is transposed into C# min and B min, before the F#7 slides down into F7, which in turns slides into a Fo7 that prepares the return to F# min via C#7. (Chopin again deploys chromatically sliding dominant 7ths in m.7-8.) Mm.11-18 is just a relentless stream of inspired moments - from Bb maj we move into what appears to be Eb min (at the end of m.12), before the Neapolitan of that key (Fb maj) becomes reinterpreted as the IV of Cb maj (end of m.14). Immediately after this, Chopin appears to seriously ramp up for a cadence in Eb min from mm.15-18 - he repeats a ii-V in that key four(!) times - before F becomes enharmonically interpreted as E# in the last beat of m.18 and we find ourselves miraculously back in F# min again. Just _ridiculous_ stuff. And there’s more - as we move from m.21 to 22, building up to the climax, we move from C# min to G(!) min (for confirmation that we’re not in C# min anymore, look at the RH 32nd notes in m.22), and from there the dominant of G min is reinterpreted as the German augmented 6th of F# minor, which is how the climax enters in m.23. The climax itself is harmonised gorgeously - the harmony and melody fall in a chain of 3rds, while Chopin avoids raising the leading note (E instead of E#). The effect is to introduce a sort of ecstatic modal colour. One last point which I don’t think is made often enough - the figuration Chopin uses is designed to make these harmonic ducks and swerves more palatable to the ear by fuzzing up the harmonic identity of each beat. Each group of 8 RH 32nds has outer notes which reinforce the melody at the octave, while the four inner notes are usually an enclosure (sometimes chromatic, sometimes diatonic) followed by two harmonic notes. But Chopin varies this surprisingly often - sometimes the inner 32nds incorporate scalar figuration, or contain just one neighbour tone.
9, E Major (12:34). A warm, rich, melt-in-your-mouth thing. And yet, despite how natural it sounds, it is harmonically extremely dense - counting conservatively, there are around 24 distinct chords deployed across 12 bars. Much of this density is generated, yet again, by painstaking voice-leading - in the abstract, it’s almost impossible to imagine a piece in E moving from A to climax on an Ab 6/4 within the space of a single bar (mm.7-8), yet Chopin manages this with little more than a descending bass line. Also worth noting is the rhythmic variety of the work, which juxtaposes triplets, dotted, and double-dotted rhythms. (Aside - Chopin’s manuscript suggests that he thought the dotted rhythms should be treated - as they were in Bach’s time - as triplets, but it’s much more interesting to separate out these three layers.)
10, C# minor (14:25). Fleet, mothlike cascades alternate with contrasting mazurka responses (note how in the latter the accents all fall on weak beats). In a nice contrast to the harmonic density of preceding two preludes, all the runs are in C# min and F# min, except for mm.8-9 where the same progression is transposed into F# minor. There’s also a nice touch with the dramatic intervention of an octave A (carried over into the next bar) in m.16.
11, B Major (14:59). A simple showcase of a poignant melody. Except, of course, that the way Chopin places implied accents in the RH makes it impossible to hear as anything but 3/4, even when the LH mostly (but not always) stays in 6/8. And then, when this pattern is steady in our ear, it is (gently) tugged from under our feet in the last five bars, there the duple meter suddenly becomes clear.
12, G# minor (15:37). A wickedly clever demonstration of hemiola on the metric and hypermetric levels. A couple of quick observations. (1): The LH starts out in a 3-note pattern that emphasises the meter, but then abandons this after 4 bars. (2): At m.13 a second hemiola idea appears in the RH, comprising a 4-note rising and falling motif, complementing the LH. (3): At m.18, the hemiola is reinforced further when the _harmonic rhythm_ syncs up with the RH 4-note motif and the LH 2/4 pattern. (4): At m.21, the rhythmic manipulation extends even deeper, into the hypermeter. While all the while we have been treated to 4-bar phrases, we now have a 3-bar phase, 4-bar phrase, and and 1-bar phase in quick succession. (The motif introduced in the 3-bar phrase is also repeated at the closing, as a kind of spasm, while the closing 3 bars again revert to 2/4).
13, F# Major (16:41). A placid, expansive melody cast over a gently speaking LH (if you’re fond of parallels, there’s one to be found between the LH’s use of enclosures here and the RH of the F# min prelude). The middle section is especially lovely, with lots of delicate counterpoint in the LH and beautiful appoggiaturas in the RH - plus surprising Lydian colour in m.26.
14, Eb minor (21:39). A rhythmic and harmonic hall of mirrors, but (unlike others in this set) one that’s pretty open about its deceptiveness. Opportunities for unearthing hidden melodies and accents abound.
15, Db Major (22:04). The A section is lovely and well-known enough that it needs no introduction, but for me the real highlight of this work is the B section in C# minor, which is proof that you can build incredible musical intensity with relatively simple material. It begins as a dark pulsation featuring a creeping (octave-displaced) LH melody, building into the ringing, medieval-sounding open 5th in m.35. From then on, the section takes on a massive, monumental quality that is very surprising, given how tenderly the work opens. There’s a lot of clever harmonic decisions Chopin makes here. For a start, the second chord in m.40 sounds like a B major 13th (missing its 5th), but is retroactively turned into a G# min chord by the entrance of the A# in the bass. And where we expect the dominant chord in m.42, we get instead an agonised augmented harmony. The transition out of the B section is wonderful, with suspensions in mm.61-62 that seem to stop time.
16, Bb minor (29:25). A descent into madness. Comes at you full-on and basically proceeds to only become more and more demented as the work goes on. But since this is Chopin, it’s still stupidly sophisticated. Take the LH, for instance: out of every 3-note grouping, Chopin first slurs the latter two notes, then the whole group (m.8, when this becomes physically possible), and the first two (when the bass re-enters like some behemoth war machine at m.18). Interestingly, Chopin’s absurdly long pedal indications - basically only lift the pedal when the harmony changes - make lots of this LH phrasing impossible to hear, so what’s going on here? There are nice harmonic shifts too (m.26-29 goes from C# to B to A minor before gliding into Bb with crazy smoothness), and the RH figuration is an encyclopedia of dazzling ways to manipulate ascents and descents on the keyboard (I especially like the 3-note broken octave figuration at m.8).
17, Ab Major (30:29). This is extremely beautiful. What am I supposed to say? Yes, there are nice modulations (m.55!) and countermelodies, and a luminous tonic pedal point in the closing section, but it’s really just a stunning melody, perfectly presented.
18, F minor (33:52). A musical seizure, comprising wildly concatenated, hyper-dramatic gestures and little else. You could try to explain this prelude by saying it’s an improvisation or fantasia, but doing this is a bit like trying to explain the angles out of Picasso - the weirdness is the charm.
19, Eb Major (34:48). Presents as a delicate etude (much like the Op.25 No.1), but it’s deceptively and ferociously difficult (it’s probably up there with no.16 in terms of sheer technical demand). Nice hemiolas at mms.29-32 and 65-68.
20, C minor (35:57). An ultra-concentrated chorale. Its second half features a LH passus duriusculus over which the RH inserts inspired counterpoint (it’s a criminal offence for a pianist not to very the voicing on repeat, there’s so much good stuff there). There’s a controversy over whether the last chord in m.3 is a major or minor C chord, but both chords work equally well (although to very different effect).
21, Bb Major (38:04). The A section comprises a simple melody slung over two voices in the LH moving in opposite directions (top voice usually diatonic, bottom chromatic). This probably qualifies as one of Chopin’s loveliest textures. The Gb that appears in the LH at m.5 (and m.14) presages the middle section’s headlong plunge into an ecstatic, vibrating Gb maj (Chopin pulls a similar move in the Op.16 rondo).
22, G minor (41:04). Yet another piece in 6/8 which pretends - at least in the opening - to be in 3/4 (your ear tends to hear the first bass note of each bar + the two RH chords as landing on each of the beats). There is also quite a lot of rhythmic complexity in 13-16, where the LH traces out a clear 6/8 while the RH wants you to believe that its chords are where the beats are landing. The sudden Db7 in m.6 can be viewed as a chromatic slide or as a tritone substitution for G, but in any case anticipates the gloriously madcap move into Db Lydian(!) at m.17.
23, F Major (41:48). Very pretty, but strikingly efficient in construction: you have a 4-bar melodic figure that repeats itself 5 times, rising by a 4th or 5th every time, with the only real variation on its 4th occurrence (m.13) to retrieve it from the Bb tonality into which it has wandered. But even in this straightforward work there’s a little mystery, in the form of an Eb that suddenly rings out in the second-last bar, apparently suggesting the piece ends on the dominant (of Bb). There’s two possible explanations for this note. The first is that it resolves to the low D that opens the next prelude (or, if you are inclined to Schenkerian extravagance, the thundering Ds that close the set as a whole). The second - which I find more persuasive - is that it’s really just there to add a tiny injection of colour, since the F tonality is well-enough established that the Eb doesn’t really unsettle it (and the Eb recalls bars 8 and 12 in any case).
24, D minor (42:33). An epic narrative - a chant-like melody wrestles with a motoric, throbbing LH. It’s easy to forget how unusual this piece is in integrating typically "decorative" elements as key parts of the melody. For instance, violent trills (ms.10, 16, 28 etc) signify modulatory junctures, while ascents and plunges that swallow up the whole keyboard conclude many phrases. Also pretty neat is how augmented harmonies are used to bridge modulatory gaps - the Eb+ at m.38 is used very expressively to move from E min to C min, while the Db+ at m.46 is formed when Chopin first hoists up the Ab (followed by the Db) when moving from Db maj to D min. The work climaxes by cresting two huge waves - the first an chromatic scream over a German augmented 6th in mm.55-56, and the second a precipitous octave descent over an A7♭9 (sus4) (I hear the RH Bbs as harmonic) in mm.61-62. In the coda (m.66 onward) Chopin alternates the tonic with a Do7, which makes for a particularly bitter, “sideways-sounding” sort of resolution. (Stray observation - at m.73 Chopin asks for the pedal is to be depressed but never specifies when it should be lifted. Almost all modern pianists take the pedal off when the last downward run commences, but it would be interesting to follow Chopin’s instruction. Instead of getting three clear black bell-peals, you catch the dissonance of the run and end up with a sort of primordial reverberation.)
@@AshishXiangyiKumar The timestamp for 20 should be 35:57 instead of 25:57
P.S. Thanks a lot for the wonderful upload
@@AshishXiangyiKumar I don't know why but I'm happy that you wrote so much text about No. 8. It's my favourite out of the bunch and you did also talk about the figuration. I analysed it too, and it's also very interesting to follow, if the first note is a suspended note (non-harmonic) or a harmonic note and how that changes to build up stress/climax or vice versa (after the climax for example). And there's lots more to talk about the fascinating Coda, with the melody standing still on the C# for a long time.
However I didn't like Pogorelich's perfomance for this particular piece, way too restrained in my opinion. I don't hear the "ff"s enough, I think Yuja Wang has a nice interpretation.
what a labor of love this prelude-by-prelude description must have been
I think it’s worth mentioning that the left hand on Prelude no 2 appears to be based off of the Dies Irae motif, which would certainly provide more context for the piece. Wonderful descriptions btw, loved reading through all of them
If you listen closely from 34:10 onward, you can hear Pogorelich inhaling the crack necessary to continue performing the piece
🤣....he didn't even share it
🤣🤣
We missed you man, welcome back
Yeah!!
@@vimalkurian5858 is that you vimalcha
And when the world needed him most, he returned.
Like Bond. James Bond.
A man of culture, i see
@@zecosta4979 :)))
This channel made me a fan of prime Pogo. The king of articulation
true
@Augustus Weinstock lol
Prime Pogo sounds like an anime protagonist at full power.
@Musikbibliothek LOL definitely!
I love how Pogorelich dares to go against what Chopin wrote, for example ignoring pedal markings and playing staccato instead of legato. I was also expecting a big burst of energy at the start of prelude no. 8 to have a contrast with the previous prelude, but he couldn’t have started more gently and misterious.
Chopin is by far one of the greatest composers of all time. Such beautiful preludes…
His touch in prelude 23 makes it seem like he is playing with sunlight as much as sound.
It in no way diminishes Pogorelich to remember that all these early DG albums were inspired by his teacher and beloved wife, Aliza Kezeradze, who died in 1996. I was so touched by their love story and achievements that they inspired two characters in a novel, The Summer We Skipped Woodstock, which ends with a piano competition.
So great to see you back, Ashish. I've gotta say, I never appreciated Pogorelich until I watched your videos on his Chopin sonatas and scherzos, and now this sublime recording of his preludes. There are other pianists I enjoy more, but Pogorelich is almost always interesting and oftentimes makes me feel like I'm experiencing a piece of music for the first time.
My thoughts exactly. Incredibly detailed and maybe unconventional performance.
I completely agree with the caption, ever since I listened to these recordings about a year ago it’s hard to listen to other pianist’s interpretations. Pogorelich always amazes me no matter how many times I listen.
11:40 That climax is seriously something else. I’ve been obsessed with it over these last couple days.
It’s so good
I can't believe I have lived so many years without ever listening to this recording. Thank you very much for this gift and welcome back on here!
Wooohooo! Ashish back with my very own favorite by Chopin!
What a powerful return.
I'm not going to lie. I never was a big fan of Pogorelich's playing. But man does he play. But man does he dare. I don't think I've ever heard the F# maj. prelude played so beautifully, with the middle section so well phrased. Incredibly moving recording.
🎧 Викторина по Шопену. Таймкоды:
0:02 - 24. №1, C-dur (Agitato)
0:39 - 25. №2, a-moll (Lento)
3:44 - 26. №4, e-moll (Largo)
6:42 - 27. №6, h-moll (Lento assai)
9:27 - 28. №7, A-dur (Andantino)
12:34 - 29. №9, E-dur (Largo)
22:04 - 30. №15, Des-dur; Основная тема (Sostenuto)
24:19 - 31. №15, Des-dur; Тема Средней части (она в cis-moll)
35:56 - 32. №20, c-moll (Largo)
42:33 - 33. №24, d-moll (Allegro appassionato)
As expected, Pogorelich!
I think I'll repeat this song indefinitely for a while
I LOVE listening to Pogorelich’s recordings (particularly Chopin) because they’re always odd in the most incredible ways. I find he often either a) ignores Chopin’s pedal and phrasing marks or b) follows them very strictly. Makes for an incredible listening experience.
Examples:
nos. 1, 2, 5, 9 (he separates all the voices), 14 (I’ve never heard a faster rendition), 16 (phrasing in LH at 30:04 and 30:17 and the lack of hesitance with the tempo unlike many pianists at 30:09), and 21
Buongiorno Ashish!
First of all wish you and all your listeners a Happy New Year !
Very grateful to you to begin my morning with this magnificent interpretation of Chopin's Preludes!
Rare are the musicians who are so profoundly connected with composers, and with God, or whomever one could believe in, to make any music sound as never heard before...
And Pogorelich is here one of these few!
Pogorelich beschreitet ungewöhnliche Wege, aber selten fühlt man sich so an das Innerste von Chopin herangeführt wie bei ihm.
Chopin is one of the few composers who can truly scare me, and No. 2 in A minor is genuinely threatening and creepy no matter how many times I hear or play it.
Sounds like something really bad in is about to happen when you hear No.2. The same happens with No. 14
Thank you!! Just as I'd rewatched your recording of these for the 50th time or so
Yay! AXK is back! This is a great recording of the Preludes. I like Pogo's slow tempos for the slow preludes. I specifically like that he *doesn't* play the 16th notes in #9 as triplets, so the 16th/32nd notes hit twice after the left-hand accompaniment. And that's the best performance of #10 I've ever heard, the contrast between the feather-light downward runs and the slower answers.
Litteraly yesterday I was scrolling through your old videos wondering where you are and today I wake up to this banger - perfect morning
Although Pogorelich comes across to me as too slow at times (no. 7 for example), he's brilliant when it comes to playing the slow Preludes. His number 13 was truly a bliss (I gotta try and play it at his speed someday. I also immensely enjoyed hearing number 17.
Extremely slow and the Conservative pedalling brought in by so called purists make some of these sound rather thin. Chopin specifically refused to use a metronome, though he insisted they were played as they were written. One or two of the preludes don't really work well with lingering tempos.
@Augustus Weinstock Good luck with the Prelude (it can be tricky, but I hope you make it). And about that bracket, I've done closing it now (must not have noticed it, when I was writing the comment). Greetings and once again, good luck with your playing.
@Augustus Weinstock The way I see it in the sheet music, you should figure it out. Start with both your hands, and then the two hands should interchange with what they play. So you should go: left, right, left, right, left, right, left, right, left, ending with the C-sharp in the left hand. The interchanging of hands should then create a polyrhythm. I hope that's gonna turn out helpful.
Studying all 24 right now. So happy that you uploaded them once again!!!
Pogorelich certainly is unique among the Chopin pianists. When I was in my 20s (about 20 years ago) I didn't understand his interpretations much, they didn't get to me. But today my way to hear Chopin has changed, possibly because of age and because by now I have learned a lot about the composer.
To me Pogorelichs approach is incredibly logical and unsentimental and that is increasingly attractive to me now. There is so much to hear in Chopin's compositions beyond the "sweet salon sound" that I think it is actually insulting to his ingenious intelligence to play him like a side dish for a romantic dinner. While years ago I wanted the soft, tender, emotional sound, today I want the contrast, I want to hear the counterpoint which Chopin was a master of, the edges and the thoughts. Chopin was quoted several times (including by his friend, the highly intellectual painter Delacroix) stating how purely logical music is. He also had an aversion against over-sentimental interpretations and anything over-exaggerated in general. When I learned about that I was becoming more open to pianists with exactly this kind of approach to Chopins music (Richter is another one). I hear Chopin with my mind these days, the underlying emotions in the music have become more subtle and almost instinctive, rather than forced, and I enjoy that a lot more. Hope that makes sense.
The Ab is a gem above all gems. What glorious, gorgeous hues of colour burst forth from this work. I love this prelude the most and Ivo and Pollini are the two who play is from the heart.
All of these etudes are incredible, but to me there's just something about the opening of No. 1 that is a transcendent form of musical expression
They're preludes btw
Pogorelich plays the E Major prelude just like the nickname it was given by Hans von Bulow. Its a deep, solemn thought and grand vision of a future. This mysterious interpretation sets it apart from almost every other pianist, who either play the E Major prelude too fast, like a military march, or too loud, like an outdoor royal procession.
Totally agree... it's meditative, profound, grand and well-considered. It develops organically. It's full of surprises too. These are all brought out properly in this rendition.
exactly what i thought, i noticed this prelude specifically here, its played just how i always thought it should be. i think its the hardest prelude of the set to master, it seems nearly every "great" pianist manages to absolutely butcher it.
The best Raindrop interpretation I listened to so far
Ah, yes! One of my favorite recordings by my favorite pianist. Good to see you back Ashish
Les interprétations de Pogorelich sont souvent bizarres, voire absconses... Celle-ci est merveilleuse, bouleversante ! Pogorelich donne ici à cet opus 28 toute sa cohérence, toute la palette des émotions humaines rassemblées dans une même entité. C'est magnifique !!
An incredible album. Pogorelich tells a coherent and cohesive story with these preludes. The careful listener can really sense the organic unfoldment of the storyline with each successive piece. The warm, crisp and muted sound really adds to this effect. I especially love it when the slower pieces are taken at a thoughtful and meditative pace. It really opens up space for the complete story to be told with all the beautiful nuances that come with it.
Ive met a few that dont like pogo but hes a total rockstar with the liberties he takes in interpretation
ancora una volta straordinario Ivo Pogorelich. Insieme ad HOrowitz il più grande interprete di Chopin.Un genio assoluto.
Caro Alessio, il più grande interprete di Chopin ...non esiste
F# minor and D minor always stood out to me and are faves. Also big challenges for pianists.
AAH NO WAY! you redid this video with my favorite performance, can't believe it! thanks so much!
My virtuoso, specialist of chopin preludes. Pogorelich I love him since 1982.
I remember the 1st time I heard this recording and realized just how awful my playing is because of my overuse (cheating) with the pedal. I am also embarrassed to admit that upon seeing the D major prelude I kinda' knew then and there that it'll be swingin' a mop for me, for the next 60 years. But I'll never give up !!!
Happy to see you posting again, Ashish; this is a wonderful new years gift
Thank you for this gift. Both Chopin, Pogorelich, and you.
Have you heard Sergio Tiempo’s Prelude No. 16? He truly encapsulates that “madness” you were talking about (and also manages to play the impossibly fast runs with incredibly precise crescendos and decrescendos!)
if you want madness, Katsaris' recording can give you madness
IP is one of the most individualistic and technically superb pianists of his generation. Imaginative, original and creative in his exploration of the music he plays. As with GG I would never say his recordings should be recommended as a “go to” recordings but very much worth every minute all the same.
Incredible realization of short musical essays that will touch the soul of mankind so long as there are those who are able to listen in this harsh world of deaf defying rap.
Many years ago I played Pogorelichs interpretation of the no. 16 in front of my brother and his girlfriend at the time and they both just said "Wow!"
A highly subversive, yet interesting rendition of the preludes. Being somewhat a harmony purist myself, Pogo's efforts are a little too much for me, but they certainly make the listening experience very interesting.
I wish Chopin could come back and hear his works being played by modern performer on modern pianos. I’d like to see his face when he heard them the first time. And when he tried our pianos. I don’t think he was a very easy person to impress, but I think that would do it.
Can't wait for a year full of Ashish vids!
14:25
I think Pogo plays this prelude better than anyone else.
No-one can perform Chopin's work with the sophistication and sincerity of heart that Ivo Pogorelich has achieved. May he live long, happily, and always be held in esteem. He brings life to these Preludes.
kumar, analyses always a delight to read. thanks for enriching my musical experience.
I wonder if Scriabin had the first prelude of this work when he was writing his own 24 preludes; both in C major, both short, both playing with tuplets over a duple bar. Could be a coincidence, but it was the first thing that came to mind when I started listening to this work.
No.8 is truly the real "raindrop prelude" as Liszt declared. With this interpretation I could really hear that. What a genius!
Great upload! I like no. 8 by Pogorelich but it was hard to find online
listen to that left hand in measures 45-48, prelude 12 16:09, just before the descending bass octaves
crazy
Yay! New Ashish video! Happy New Year, y'all!
Enchanting explanation of the preludes
It's like a late New Year gift. Awesome
Thanks for your analysis. And for making me discover Pogorelić.
The piano that keeps on giving…. Chopin, dziękuję.
what I find is very interesting is that at the end of No. 2, at 2:17, there is the same exact chord progression (same chords, inversions, and bass line) as the beginning of No. 9.
Because is a prelude that links
No 2 ends with a fake major sound and no 9 is e major which is the actual chord
No one was more sublime at expressing melancholia than Frédéric Chopin!
Rach: "Am I a joke to you?"
@@oritdrimer4354 yes, compared to Chopin
Tchaikovsky and Puccini are asking for explanations.
Yesss thank you for the upload!!!!
Welcome back, and happy new year!
Anyone noticed something in the Hades prelude?
Same key as 2nd Sonata
Almost identical rhythm in left hand as in the theme of the 2nd Sonata
Beginning 29:30 Identical chord progression in the first eight bars of both pieces.
Perhaps in an alternate universe, Chopin used this as the fourth movement of the second Sonata instead of what we know it to be 🤔 it would certainly fit.
Fascinating (but not surprising) to see how many of Chopin’s pedalling marks and dynamics Pogorelich ignores
We’ve missed this 🙃🙃
I don't think 23 works but I find myself agreeing with his choices every other time. And those last three basenotes are like a death-knell...
Really good video, one of the best ones that i have seen
You and Ashish both score
BREAKING NEWS! WE HAVE AN UPLOAD!!
There will never be a greater crescendo than that leading up to the epic 25:16
I think the G Minor Ballade would have something to say about that
It's good. But try Alkan's Sonata, Quasi-Faust movement. Preferably, played by Hamelin. Quite possibly the biggest crescendo and climax in all piano music.
The legend returns!
No.1 makes me realise where scriaibin got a few of his op.11's from...
The return of the king, welcome back! My favourite recording of the Preludes has always been Rafał Blechacz’s. What do you think of his recording?
He used Blechacz recording in another video
@@FrostDirt yep
well he used a live recording for that video, there's a different studio recording though
I agree with you
Nobody better today in our world
44:01 - 44:08 This part gives a lot of chills...
Welcome back. A pleasant addition to the channel. Chopin is music for the soul ❤️❤️
The last measures of D minor #24 sound fantastic with the pedal held all the way. Sokolov does this (and so much more) in his fantastic recording: th-cam.com/video/d9TMlwrgQbQ/w-d-xo.html
welcome back!!
Came here for the last (d minor) prelude and was not disappointed.
For anyone interested in hearing even more extreme live pefromances of this piece by Pogorelich, check out
th-cam.com/video/iAstPxEyBiU/w-d-xo.html
and
th-cam.com/video/4pCjNNYNrc4/w-d-xo.html
The legend is bacccccc
Happy new year!
Wow! So different, but brilliant.
Thank you for your wonderful sharing.
11:57 This part sounds very Alkan inspired
HURRAY YOUVE RETURNED!!
Welcome Back
Welcome back !!
What do you think about Kissin's version of these Preludes?
Thank you for posting
The return of the king
I miss the remark in the description where you described this as “Chopin played like Scriabin”. Perfect summary of Pogorelich’s achievement here.
sounds so beautiful 😁
24 = chopmaninoff. Which is ironic because in that case Chopin predicted Rachmaninoff.
can't see anything ironic, Rachmaninoff rooted Chopin a lot.
12 is literally rachman-in
he's alive
no.1 is so satisfying
oh crap! I didn't even realize you posted this today or yesterday. I'm used to your stuff from a few years ago appearing in my feed and it being just fabulous. I wasn't even going to click because Pogorelich and I don't agree on much, interpretation-wise. Although I CERTAINLY respect that his fingers could probably stab through a treetrunk like the beak of a woodpecker. Anyway, I appreciate the recommendation. It's an awesome recording. Thank you!