Chopin: Polonaise-Fantaisie Op.61 in Ab Major (Yoshihiro Kondo, Kate Liu, Leonskaja)
ฝัง
- เผยแพร่เมื่อ 8 มิ.ย. 2024
- The Op.61 is the closest Chopin ever came to the austerity (and strange, liminal warmth) of late Beethoven. In any case, there’s little doubt that it’s one of the worst-titled works in the repertoire. “Polonaise-Fantasy” suggests a brillante romp - instead you get this thing that opens with a harmonic meditation, but from then on presents as craggy, even unfinished: full of failed, fragmentary melodies, unstable progressions needlessly prolonged, vertiginous modulations, all arranged inside a disemboweled ABA (/very lopsided sonata) form. It’s very easy to listen to this work with the expectation that some big lyrical melody will come clean, and to be disappointed when this never quite happens. (The main theme does come to a climax, but it’s an odd one. Where Chopin typically puts a pattern of ascending/descending chords in the LH - see the Ballades and the Barcarolle - here the LH gets bare contrapuntal octaves: part celebration, part nervous breakdown.)
The Op.61’s apparent instability actually belies a surprisingly tight-knit structure. The work’s in ABA form, except that B section is punctured - after its appearance, it continuously leaks material into the rest of the work. The transitions between the sections are very substantial, involving two new themes (3 and 5) that at first seem very different - one’s a pleasant nocturne, the other a doleful polonaise - but are in fact closely related (same rhythmic outline).
This work is also a rare instance of Chopin using large scale motivic unification in his writing. Rather spectacularly, that modest little turn in m.4 (0:39) ends up generating the extended transition passage at m.50 (2:59), the lovely LH counterpoint at m.152 (6:56), the RH melodic contour at mm.216-217 (10:26), and the frantic material at m.225 (10:57).
Why then this work come across as so subjective and dissociative?
A couple of things. The most important is Chopin’s insistence in lingering on or broadening interstitial (/unstable) space - a tendency already at work in some of the slow passages in the Barcarolle and the Op.52 Ballade. Transitory aches are leaned into rather than resolved: quite apart from Themes 3 and 5, you have stuff like the agonizing passage in thirds beginning at m.52 or the massive transition beginning from m.128 (5:45). The latter is quite something: you start with a passage which a younger Chopin would almost have certainly written as a sort of cadenza or fioritura, but here is a stark passage in measured semiquavers, flat and aggressively inexpressive. This intensifies into a chromatic two-voice descent in the RH, and finally reduces into a single line that winds listlessly for six bars before arriving at the dominant of B major (though not without landing on one striking augmented 6th dissonance first).
The other big factor is the nature of the material itself: the themes have an open-ended, subjective quality. The main polonaise theme - to take one example - begins with two standard four-bar phrases, but then overspills into a massive, modulating 12-bar phrase that gradually sheds all hint of polonaise-ness. When Chopin repeats the theme (m.45), it’s even more unstable - not only is there a jarring Eb pedal in the bass, the second phrase isn’t even allowed time to finish. The only theme that really has a stable structure is the B section’s touching trio/nocturne, and it’s pretty significant that it’s this which Chopin uses to end the piece.
Given all the above, it’s unsurprisingly very hard to find effective performances of the Op.61. The three here find different solutions to the Op.61’s interpretive problems.
00:00 - Yoshihiro Kondo. A “keep it together” approach. Steady pulse throughout - Kondo allows himself only the slightest rhythmic liberties. Emphasis on contrapuntal clarity (see the entrance of T2 at 6:35, and dense passages like 4:44) and tone production (see the beautifully controlled climax at 11:40).
13:20 - Kate Liu. Rather the opposite of Kondo - leans into the sprawl, emphasizes the distinct characters of each theme and the enigmatic aspects of the work. Lots of intoxicating detail: at 15:34 (m.24), the interaction between the RH melody and the LH polonaise rhythm is underscored; the suspended Ab at 17:29 (m.73) is given unusual prominence; the return of T5 (24:40) is barely audible, a pale shadow.Very expressive phrasing throughout.
27:38 - Leonskaja. All about rhythm; my favourite recording most days of the week. Opens deceptively, with a very slow introduction, but the contrast at 30:11 when T1 enters with march-like staccato (and sharp textural contrast between both hands) is lovely. At m.254 (40:27) the RH triplet and LH semiquaver rhythm is kept distinct, imparting huge momentum to the finale. This continues into the final run at 40:52, where the last note of each triplet is effectively overdotted. Also the handling of the finale and the lead-up to it is wonderful - real biting intensity. - เพลง
INTRODUCTION
00:00 - Abm to Cb, Gb to Bbb (= Neapolitan of Abm). Briefly passes through Dbm. Ebm to Gb, Db to Fb (= Neapolitan of Ebm). Introduces the most important key relationships in the work.
01:23, m.9 - Transition, prefiguring Theme 1. (The turn-like figure in the LH in m.4 turns into the melodic figure at m.26, and is scatted all through this transition - it’s in octaves in the LH at mm.10-11 and gets a bit of a lift in the RH in m.14 and m.18. This motif eventually metamorphoses into the whole long chromatic passage beginning from m.51.)
A SECTION, m.22 (Sonata form: Theme group 1)
01:57 - Theme 1 (“Polonaise theme”)
03:38 - Theme 2, m.66, incorporating polonaise rhythm, moving into C and E.
04:26 - Theme 1, now over triplet figuration. Initially placid, then moves into Abm (4:57) and turns turbulent.
TRANSITION, m.116
05:13 - Theme 3. New material in Bb. Initially presenting as a sweet nocturne, then turns anguished before dying away into a long chromatic line.
B SECTION, m.148 (Slow section. Sonata form: Theme group 2)
06:34 - A brief prelude to the main theme, in B.
06:56 - Theme 4. Starts in B, moves into D#m before cadencing in A# and modulating back into B, where the theme is restated with a more active RH melody. Ends with a gorgeous series of modulations, eventually pausing on the Italian sixth in an implied Em. This is the piece’s point of absolute zero. Harmonically, the C aug 6 might appear senseless (and it certainly sounds exotic), but it's really an accented chromatic passing chord that leads straight back into G#m.
08:17 - Theme 5, Abm, m.182 (closely related to T3 - they have the same opening melodic rhythm). Ends in a series of gradually thickening supertonic trills that lead into a truncated restatement (9:29) of Theme 4.
TRANSITION, m.214 (Sonata form: Development)
09:50 - We return to the introduction. B to D, A to C (= dominant of Fm)
10:26 - Theme 5, Fm, coalescing out of nothing.
10:57 - Agitated passage in triplet semiquavers, ingeniously built off the LH accompaniment of T4 (listen to the LH from mm. 211-13, and the corresponding passage at m.222. At the latter instance, note how Chopin prefigures the new rhythmic emphasis at m.226 by introducing held notes in m.224). Starts in Db aug 6th harmony, moving into Fb, then a chromatic sequence leading into a long semiquaver passage that’s essentially a decorated Eb dominant 7th (11:18).
A SECTION, m.242 (Recapitulation, where the two major themes (1 and 4) are both stated in Ab)
11:24 - Theme 1, triumphant, with octave counterpoint in LH.
11:39 - Transition in B (m.250), wildly ecstatic and improvisatory.
11:53 - Theme 4 (m.254), now angular and triumphant. Counterpoint in LH.
CODA
12:18 - The LH counterpoint to theme 4 reaches musical escape velocity, and runs wild across the keyboard.
12:24 - The same melody now constrains itself to just the RH, repeating obsessively over a dominant pedal.
12:38 - Closing cadence, prominently featuring the b7 and b6 (notes borrowed from the Abm opening tonality).
Small correction - at the 10:26 timestamp you mark, I'm pretty sure it should be Theme 5 in F minor rather than in A minor.
@@barcarolleenjoyer Thanks! Corrected.
Thanks so much for the work.!!!Bravo
Db to Fb, not E
Hearing this piece in particular makes me think of what Chopin's music would have evolved into with another 10 or 20 years on earth...
It would be something out of the world, which is why Chopin was decomposing; he was too dangerous!
@@erezsolomon3838 lmao
Nice to see Kate Liu get some love on this channel, her Chopin is outstanding.
Kate Liu has the best Chopin I've ever heard from the new generation
She is amazing..!
i've always been in love with Chopin, ever since i was 11 years old, so much that one time i've named my dog Chopin. F. Chopin has impacted my life in so many ways, he has helped me when i was at the lowest in my life, helped me with those sorrowful yet sublime songs like this one, this fantasie is just a masterpiece. Not only F. Chopin has impacted me but my dog as well, both of them have helped me at my lowest and gave me happiness even though i didn't see it possible. Today Chopin (my dog), has passed away, and i just wanna say thank him and F. Chopin, because that name has really changed my life for the better, forever
Nerd
This is wholesome
😭
Pieces*
As a casual fan of classical music, I was totally unaware of this sublime and strange piece, thank you!
Great to see Kate Liu's name here. She's a brilliant pianist.
The "Polonaise-Fantaisie" represents a marvellous edifice of music, which wells up from the ground, quietly, innocuously, and yet, with a sentiment that conveys peace within the heart, nobility and passion. Despite its disjointed structure, it is perfect in its humanity.
Ah I've been looking forward to this upload for a long time now. It's my absolute favourite work by Chopin!
Here's my rather different understanding of the piece's structure, and it's how I like to parse the paradoxically tight/sprawling nature of the work when I listen to or interpret it:
The piece is a "fantasy in 3 acts" (the polonaise prefix really is a bit of a misnomer):
ACT I (variations on theme A):
0:00 - Introduction
1:58 - Theme A, polonaise metre
2:44 - Variation 1, brief restatement before complete collapse
3:38 - Transition, new theme, and the last time we hear polonaise metre in any significant fashion
4:26 - Variation 2, nocturne
4:57 - Variation 3, now turbulent with a syncopated inner line
5:13 - New theme as we transition away from theme A development
ACT II (a meditative interlude that introduces themes B and C):
6:34 - prelude to Theme B
6:56 - Theme B, an alternating ebb-and-flow between LH and RH arcs
8:17 - Theme C
9:30 - Theme B reappears briefly
ACT III (closing -- themes A, B, and C return but out of order):
9:50 - Introduction recap
10:26 - Theme C restatement (sublime)
10:58 - Transition with faint wisps of polonaise rhythm in the LH
11:24 - Theme A restatement
11:53 - Theme B restatement
12:18 - Coda
I had never heard the teme like a nocturne's variation
This piece just keeps on giving. I have heard it countless times, and I continue to be blown away by the motivic and harmonic ingenuity of the work.
00:00 Yoshihiro Kondo
13:20 Kate Liu
27:38 Elisabeth Leonskaja
I'm surprised Yoshihiko Kondo's performance has been uploaded!! His rendition is excellent.
As a Japanese pianist, by the way,
The performance of this work , up-and-coming keyboard magician Hayato Sumino fascinated at the 2021 Chopin Competition Semi-finals is also spurb✨✨✨✨
One of my favorite pieces of all time! Thanks for sharing these recordings 🙏, your videos are amazing
I heard this live from a grad student recital in about 2012 or 2013. I haven't ever quite forgotten it. It's gorgeous.
Chopin's friends: Fred, we would like to dance. Why don't you write some catchy dance music, maybe a polonaise?
Chopin: Proceeds to write Polonaise-Fantaisie Op.61 in Ab Major
I'm crazy, and you too! I tried to dance this polonaise, but the only thing I managed to do was make weird steps inspired by the music that would not be described as beautiful. this is more of a fantasy than a polonaise
The program notes and analysis are on another level! Very well written, thoughtful, and intriguing. Thank you Ashish!
Damn... Leonskaja’s recording is a real triumph for me. The opening is still and expansive, as if setting the stage harmonically for the more rhythmic section. The more polonaise-like sections are such a great contrast - fantastic sense of rhythm and non-disruptive rubato. I love the Richter recording, but Leonskaja really makes me feel like I’m being led somewhere. It’s the way she distinguishes each section that provides clarity to the whole work, and it’s a sense of balance and coherence that I believe even tops Richter, who already did a great job untangling this monster. Looks like the Richter recording is gonna lose its spot on my shelf.
Leonskaja was a Richter acolyte who played four-hands in Moscow with him in the early 1990s. She plays it very well. Still, Richter played the polanaise fantasy in his first public recital (age 19) in Odessa, and over decades afterward recorded it more than any other single piece. Hence, there's no one "Richter recording," but dozens played with a wide range of different tempi and dynamics. Several are on youtube.
I love what you ay about Leonskaya leading us somewhere . Richter loved her playing . She is well known but not as well known like Sokolov as she should be -but those who know what is what in music know her .
Thanks for the upload and the illuminating analysis as always. Somehow I've never heard this before. Love that Ravelesque dissonance at 6:21 -- modulo transposition, it's the opening chord of Scarbo!
Thanks for introducing the Leonskaja recording. So far this is the recording that made the most sense to me.
Finally a recording with Kate Liu..Thank you so much. Kate is just amazing, so unique... She is the most inspired pianist of her generation imho.. I hope you upload some day her renditions of the 4th ballade and the antante spianato from the 2015 Chopin Competition.
the interpretation of OP. 22 with Liu is incredible. the best!
@@jorgegutierreztellez3663 Totally agree!
@@jorgegutierreztellez3663 the best of the solo piano op22 agreed
The opening is my favorite part of this piece, and Leonskaja's opening, with its slow tempo and sense of unfolding space (and marvelous use of the pedal) is the best I've heard, and it makes the contrast with the *a tempo giusto* passage that much more effective, as AXK correctly noted.
Return of the king
So nice to see kate liu on your channel!
Thanks for the early birthday present!
Thanks guy ! Your work is a very good step to understand pieces in depth, through your explanations and the different performances. Good job ! ❤️
This is such an epic Chopin piece. It takes you on an entire journey.
Great to see Kate Liu was chosen as she is a fantastic performer. Quite the shame she did not receive the same attention as Cho and Hamelin after the 2015 Chopin Competition.
you think so? definitely not as much as cho, but i feel more than hamelin
@@skylarlim4181 I believe so. I have no definitive proof, but I found that Hamelin received more attention from the competition because of the debate many had claiming he should have received first prize. However, what is not speculative is what Hamelin has done outside the competition. He has composed his own pieces, has an incredibly vast repertoire, and is wonderous virtuoso. As far as I am aware, he has done many more recordings as well. These are factors that attract audiences, which is why I believe she did not receive the same attention as Hamelin did.
However, you could still easily be correct as it is incredibly difficult to track actual data on this (especially in the case of Liu and Hamelin). This is only my opinion on the matter and your thoughts are equally valid.
@@noah829 I think you may have mixed him up with the other Hamelin.
Liu should have won the competition and the fact Cho is so wildly popular (and overrated) in place of her is really sad.
@@BRNRDNCKbut Cho was perfect at that competition, Liu was great but even she knew that she wasnt going to win
Definitely one of Chopin's most "out there" works, it took me a long time to even be able to stand this piece when I first heard it; I could rarely get past the intro, which I found too slow/simple. Finally sitting down to digest this I realized it's quite a journey and although there are passages which are strange to a beginners' ear, lying in wait are passages which are very direct in their evocative qualities. There are tiny 5-10 second areas of this piece which now constitute some of my favorite piano moments of all time.
All of the polonaises are acquired taste. There's just too much going on for the casual listener to pick up without being overwhelmed.
I had the same first impression. I'd heard it touted as a "fifth ballade" of sorts, but upon hearing it I was put off of it. Having matured rather rapidly in my understanding of music and the depths it can reach, just a few months later and relistening, it's one of the most stunning pieces I've heard. It's definitely in among the best of the best, and makes me severely question the people who still maintain he's just the "right hand" composer, just looking at the left hand of this piece alone should really shut them up.
@@ack7956 that's so interesting, since learning his music I've always thought of Chopin as a left hand composer, as the left hand is often the hardest part to play.
@@javascriptkiddie2718 "polonaises are acquired taste" xd, quite low bar
YES, YOU'RE BACK!
These long form interpretation cmparison videos are so cool
The passage in the beginning sounds so vast, it’s beautiful.
Bravo...heard piece nearly twice before realizing it was same number...fabulous Chopin polanaise! Credit to pianist learning to play it!
Marvelous!
I don't know how many are lost, but more and more of your uploads seem to be taken down. I think that we as a community need to start archiving more of these recordings and eloquent descriptions before they are forever gone.
Debussy: Suite Bergamasque (Cho Seong-Jin, Bavouzet),
Chopin: Variations on "Là ci darem la mano", Op.2 (Trifonov, Nebolsin),
Debussy: L'isle Joyeuse (Cho Seong-Jin, Blechacz, Bavouzet, Goerner, Crossley, Korstick ++),
Bach: Keyboard Partita No.1 in B-flat Major, BWV 825 (Blechacz, Anderszewski),
Bach: Keyboard Partita No.3 in A Minor, BWV 827 (Blechacz, Anderszewski),
Bach: Keyboard Partita No.4 in D Major, BWV 828 (Grosvenor, Goode)
It's annoying, but then these videos tend to become unblocked at some point later on (I have some theories as to why). E.g., the Moravec Nocturnes and MacGregor AoF disappeared for a long while, but then came back on.
Also, it's just an opportunity for to look for more interesting recordings, so I'm unusually not too fussed.
Other lost videos include Liszt’s Paganini Etudes (Trifonov) and Chopin’s Sonata No. 2 (Fialkowska, Pogorelich)
@@AshishXiangyiKumar incidentally i found that your last polonaise-fantasie video was apparently blocked in some countries, but i haven't found any country in which it was not blocked in?
Tchaikovsky's seasons seem to be blocked in my country as well :(
@@soap6441 well for that one youtube only says *"This video is not available"* , or at least for me, but for the polonaise fantaisie video i was talking about had *"This video contains content from SME, who has blocked it in your country on copyright grounds"*
Chopin, the one who makes the audience sigh and the pianist cry.
why would the audience sigh o_o
Sigh as in a pleasant sigh. I could see why it could be confusing :)
Any composer's music, good or not, will surely make the audience do one thing: cough
@@CatkhosruShapurrjiFurabji LOL, favorite comment of the day.
The king is back, and he hath brought another gift.
May sound braggingly weird, but I heard this piece first with Emmanuel Ax (live) and his take is a lot more reserved and chamber-music-style. There is a version on TH-cam, and I would encourage people to take a listen.
First time hearing this piece of Chopin's, immediately fell in love. His work is beyond me, the diversity
Thank you so much for this, I’m learning this piece at the moment so the timing is perfect.
Personally my favourite recording I’ve found so far is Horowitz from c. 1950, but it’s definitely not for everyone. Horowitz plays with a sort of reckless abandon which I think suits the unstable character of this piece. But I like these as well. I was aware of Liu but not the other two.
Thanks again.
He plays like Scriabin.
This piece shows off how Chopin's idiom can sing in sprawling, relaxed structures as well as compressed miniature forms. That he never got to develop this new approach is one of classical music's greatest losses.
Pianist James Rhodes said about this piece "It is like a dream you don't want to wake up from"
beautiful!
OMG HES FINALLY BACK
my favorite Chopin
Fantastic piece 🎶🎹🎶
Great piece
I'm so stoked for this video, my favourites for this piece are Richter, CR Hamelin, and Blechacz.
Blechacz sounds Polish, Hamelin sounds noble, and Richter certainly sounds novel.
I like Blechacz, Liu, Avdeeva, Virsaladze
@@Thiago-px9ev excellent choices
Wunder, Blechacz, Richter are my favourites
@@FrostDirt I can't stand Wunder as a person 🤢 but he's indeed a great pianist
Ingolf Wunder deserves some mention here! He's by far the only pianist to receive "Best Performance of Polonaise-Fantaisie" in the Chopin Competition.
he already featured Wunder in this video
th-cam.com/video/MQqJExexs18/w-d-xo.html
im not sure if you can view it or not apparently its blocked in my country
@@mcig98 I've never seen that video before. And yes, it's unavailable, maybe that's why.
@@mcig98 also, it's unlisted. How did you get the link?
@@FrostDirt it was only unlisted after this video was uploaded. i was aware of the video before that (there's a playlist of all of AXK's public videos, which include the ones that were blocked, th-cam.com/play/UU2q7OXP-mPxHzJerA9tXe7Q.html, that was one way you could find out, you can also find the description using some website, and if you want you can recover the video with somewhat lower quality from a website called BiliBili which has a lot of reuploads of AXK's videos to be showcased to Chinese viewers)
3:27 It appears that Chopin had a bag full of flats that were starting to turn, so he used them all in this piece. It's not every day that one encounters a Dbb.
Welcome back :D
thank you for the detailed analyses and the descriptions in your video.. and also thanks for using Kate Liu's interpretation!! it's my personal favourtie
edit: i think your chopin sonata no 2 video got deleted by youtube.. do you mind doing an upload? thank you =)
His video with Alice Sara Ott Chopin waltzes was deleted like for 2 years and last week was again uploaded. Maybe we need patience
@@alanleoneldavid1787 it was not reuploaded, whoever blocked the video just unblocked it
also i believe it was unblocked about a month ago?
Beautiful!
Bravo 👏👏👏
What did Chopin think of Schumann's eternally great Fantasie . I can't believe he liked noone's music but his own and Moschels' ! This really is Chopin's 2nd Fantasie ! I think the title is apt and prepares the listener better than simply Fantasie . It is always published with the polonaises and each of them harbors more and more the tendency to speak outside the bar and in "unstable harmonic zones that never resolve " There is something about the opening chordal motif (minorto Major -a message initself about the entire text) it's simple emotional ,communicative resonance never gets old no matter how many times you hear this piece. UNLike his prefaced Ballades these opening prelude is really part of the piece . Reading the harmonic and compositional process here Kumar provides really helps ! And it really gave me a lot in recognizing why this late composition really shows the language of the 20th century coming to Chopin and Liszt then Scriabin - Unresolved /interstitial spaces and unstable progressions etc. I now know I need to read more harmonic analysis one can't interpret what the composer means without this . What does it mean that the 2nd chord is actually a Neapolitan of the nextkey.oes the music continue in that key . The turn in ms.4 becomes more and more conscious .How would Kumar describe this repeated minor figure's growth ,repetition and occurence .
HAPPY BIRTHDAY CHOPIN
aw man i cant comment this on every chopin video
Chopin's most experimental piece
depends what you percieve as experimental i guess
@@mcig98 Mainly structurally experimental, I'd say
Chopin é está obra
Kondo expresses the sublime of this pieze with an exceptional technique. Liu's interpretation is the best of all because he has a lot of innovation and opens up new horizons, discovering subliminal voices that you didn't know existed. I liked hearing it in this video. Leonskaja has a good interpretation, but I don't like the way of accentuating the ending.
There's no way that somebody depicted this so perfectly. No fucking way....
25:46 is the most ecstatic moment in all of piano music. There is no other moment that matches it in its climactic intensity.
The ending of the finale of Stravinsky Firebird for piano is also quite impressive. This is still really powerful, though
Liszts sonata does a pretty good job
@@stacia6678 I Agree!
Beethoven Opus 109, Variation VI is more ecstatic than this climax
Delícias de músicas! Execução primorosa!
Whaouh the Leonskaja's recording !!!
4:47-5:12 (for my convenience, 4:46) this sharp contrast (I sense some Beethovenian polyphony and intensity here) from the first theme to the Bb passage is my favourite part in the entire polonaise!
4:58 is a passage with the same polyrhythmic patterns in the middle section Chopin's op.9/3, also marked agitato, except that the former is in compound meter.
Where did you get the Kondo recording? I can’t seem to find it
Such an intriguing piece really, somewhat contemplative, but barely able to hold itself together! Could you maybe do a video on Sciabin's 4th Waltz sometime?
3:39 & 4:57 sounds related to section B of Nokturn Op 62 N 2
1:59 -POLONAISE!
The more I listen to Op. 61, the more I appreciate the intricacies of a master storyteller at work. Op. 61 is a masterpiece of masterpieces which takes you on a musical journey unlike any other. A fantasia of Chopin himself (his life) with as much joy as anguish. Bravo!
How would you explain it in a nutshell?
is the description a compliment to the piece?
👌
Kondo’s phrasings are wonderful. Nice to hear the piece without the rubatos and strettos that have become common performance practice today.
I know you’ve uploaded them thrice already, but have you considered posting the Chopin Scherzi played by Seong Jin Cho?
This'll be really short: I really like Kondo's "Polonaise", and Liu's "Fantasy"- alas, the only Polonaise-Fantasy I heard here was Leonskaja's.
which title is worse, Polonaise-Fantaisie or Fantaisie-Impromptu?
Who else thinks the ending of this would go well with the a flat major ballade coda?
Ashish, have you heard last Pogorelich's single? Nocturne Op. 48 No. 1. I think it deserves a listen.
4th?
6:21 Ravel
At long last, he is back
18:17, 18:34, 20:30, 29:47, 32:25, 32:59, 39:32
Ashish is your Chopin Sonata 2 video still up? Can’t seem to find it
it was taken down due to copyright
3:39
first part looks like scherzo 2
32:42 is that Scriabin :D
Sounds like the whole piano has vibrato
11:53
it would be good to put Leonskaja Brahms sonatas 1 and 3, my favorite performances
HEYA
31:13 Cool launch into ff
32:42 Clear L.H. in m.97
What a masterpiece.
Hey, I just wanted to ask where did Schumann Symphonic Etudes op 16 go, it was the best perfomance I've ever heard
its been taken down, if you want to look for the recording just type "schumann symphonic etudes pogorelich"
@@mcig98 oh man thank you so much! I've been looking for this record for months
えーっと
ポルナレフ
Something unrelated. What are your views on Busoni? Is there any chance (original) works of his to be included in the channel?
He did upload the Busoni transcription of the D Minor Chaconne
@@FrostDirt He said original works
@@stacia6678 It was edited
@@FrostDirt yes
wtf is that description can you use normal words
schmlarf
If only Chopin lived healthy 5 years longer…
Ah yes, Russian chopin.
to jest takie trudne, że ja po szkole muzycznej nie zagram płynnie z nut
I have listened to this piece, and as much as I adore Chopin’s music to an unbelievable extent, I do not appreciate this work. Whereas there are recurring themes, I didn’t really feel any sense of coherence until maybe my fifth listen. In my opinion, in a good piece, the theme is repeated just the number of times to allow it to be easily hummed by the listener afterwards; however, it cannot be presented in too much of a nagging manner, over and over, for then it becomes annoying. In this piece, there’s nothing to follow, it just keeps on going and going…. It lacks continuity. It is one of my least favourite Chopin works. Thanks for the upload anyway!
Gotta agree, I find it incomprehensible. I guess it's the kind of piece you have to study/learn to understand and love.
this incoherent piece? many themes are repeated! they have repetitions with totally different variations, which makes the piece very rich. yes, not everyone can appreciate this at first hearing but for me it is one of the richest pieces we find in Chopin. it is a personal taste
@@ulysse__ yep, I only liked it after going through the torture of forcing myself to listen to it a couple of times to get the structure (very ear-grinding, I should say) and I don't even know if it's worth it lol.
This is the reason why I essentially can listen to this piece only played by Pollini - whom, I admit, I do not like too much on large part of Chopinian repertoire
It's awful
맨 마지막주자는 너무 연주가 이상함
apparently Liszt did not like this. sad :(
I like the piece despite it being showy but I don't like the title whatsoever, it should just be a fantaisie rather than polonaise fantaisie...
Well Chopin didn't particularly care for much of Liszt's music so they're even 😎
@@FreddyChoppins at least Liszt liked most other Chopin pieces