Should the last note in the right hand in bar 3 not be an E natural? There’s no accidental to revert it back after the accidental on the 2nd right hand note?
Right, this is apparently an issue of uncertainty, most recordings and other edition for example my Wiener Urtext treat it as a misprint and have a flat sign (in parenthesis) there. But you can hear the occasional C major in some recordings. I prefer C minor, but my mention of it didn't make the final cut so good that you commented!
I was going to ask the same thing. Thanks. I see @sonatasecrets points but I hear it better as E natural, as it being following by D - G twice after that is a nice modulation to G major in bar 4 before crashing back to C minor in bar 5.
@@SonataSecrets Did some TH-cam sleuthing because I was too lazy to pull out my 78s. Cortot (Descombes pupil) plays E flat, Koczalski (Mikuli pupil) plays E natural. Can't recall if Pachmann recorded this prelude - his would be interesting since he studied with Mme. Rubio, and her scores were often marked up...Between these three, I would say Cortot is more the scholar. In his printed edition of the Preludes, he adds a flat and states that it was corrected with pencil by Chopin in Jane Stirling's copy. I would believe her scores to be reliable, especially since she was with him till death, practically. Final thoughts, perhaps?
This is a really great analysis of the harmony . I don't think there is anything on TH-cam as valuable as your tutorials. I hope you can continue these great contributions
I love that these videos always possess such a thorough analysis of not just the theory, but also how the theory affects the emotion. It is really inspiring; thank you, my friend.
Perfect analysis for this beautiful and strong Chopin’s Prelude, wrich harmonie was very well explaned in your vídeo ❤ I didn’t find someone who teaches and create lessons like you in TH-cam.Thanks a lot and continue please doing that
Amazing video as always! Would you please consider for a larder video doing one of his Scherzo's or his 4th Ballade? It would be an amazing watch! Have an amazing day!
This is SO funny to me. I'm composing a song in C minor and wanted to know what Chopin did with the key. So just last night, I played this very song, and here it is today! lol. Also loved the phrase: "never anything else than what it always was, and it was always going to end up..." just perfect. Thanks again for your happy teaching face. 😇
hello, there is a piece that i wanted you to analyse for a long time. it is chopin's nocturne op 48 no 2. you analysed the first piece in the opus, and the two after it. so i would be really happy to see your interpretation of the nocturne, both musically and analytically :)
Interesting that you describe the 2nd chord in bar 6 (French augmented sixth) as an Ab7 with a flat 5 whereas I would think it makes more sense to think of it as a D7 (in 2nd inversion) with a flat 5. Firstly, it is notated the way I describe with an Ab being the flat 5 of a D7 rather than spelling the D natural as an Ebb (in an Ab7 flat 5) but also it makes more sense to think of it as an altered D7 being the dominant to the G which comes after.
I remember watching a wwii documentary called wings of the Luftwaffe and they had an orchestral version of this, along w Ride of the Valkyrie, as some of the main theme music. I enjoy playing this on piano: short and easy but sounds impressive.
Great video, I really love this prelude. I find that all of them are small gems. In the repetition I don’t like to use the una corda pedal, but I get the point. The reason is that i feel you loose the character of the piece with it and when you did it, once more I corroborated it. I think you can still get a different color without that pedal. It is a matter of cushion well your chords and you get a different effect. The character of the piece is maestuoso with the opposite feeling of triumph
Hold it! I am looking at beats 2 and 4 in measure 3 on what looks like an old printing of this wonderful piece. Beat 2 shows E natural in the melody, yet beat 4,showing E in the same octave, is played as Eb. I am surprised that the natural sign isn’t being observed for all of measure 3. There aren’t any Ebs elsewhere in measure 3 to cancel the E natural. I played this piece many years ago and know it well. The minor beat 4 sounds heavy and jarring. This is the fourth video I have heard just now that does this same thing in measure 3. Please explain! Thank you.
Should the last note in the right hand in bar 3 not be an E natural? There’s no accidental to revert it back after the accidental on the 2nd right hand note?
Right, this is apparently an issue of uncertainty, most recordings and other edition for example my Wiener Urtext treat it as a misprint and have a flat sign (in parenthesis) there. But you can hear the occasional C major in some recordings. I prefer C minor, but my mention of it didn't make the final cut so good that you commented!
I was going to ask the same thing. Thanks. I see @sonatasecrets points but I hear it better as E natural, as it being following by D - G twice after that is a nice modulation to G major in bar 4 before crashing back to C minor in bar 5.
Chopin corrected it to E flat in some students’ copies.
Yeah, there are arguments for both versions.
@@SonataSecrets Did some TH-cam sleuthing because I was too lazy to pull out my 78s. Cortot (Descombes pupil) plays E flat, Koczalski (Mikuli pupil) plays E natural. Can't recall if Pachmann recorded this prelude - his would be interesting since he studied with Mme. Rubio, and her scores were often marked up...Between these three, I would say Cortot is more the scholar. In his printed edition of the Preludes, he adds a flat and states that it was corrected with pencil by Chopin in Jane Stirling's copy. I would believe her scores to be reliable, especially since she was with him till death, practically. Final thoughts, perhaps?
This is a really great analysis of the harmony . I don't think there is anything on TH-cam as valuable as your tutorials. I hope you can continue these great contributions
I would agree! I haven't found anything on TH-cam as insightful and easy to understand as his analysis! Thank you Henrik!
As an amateur pianist, I had never heard this one before, it’s so gorgeous … thank you for making me discover it!!!!
it's rarely the case that when you slow down a video it feels better, 0.75 speed for this piece is perfect
i agree that he may have played it just a bit too quickly, rushing instead of soaking in the harmonies that Chopin wouldve wanted us to hear
I love that these videos always possess such a thorough analysis of not just the theory, but also how the theory affects the emotion. It is really inspiring; thank you, my friend.
Heard a lot of performances of this piece, but yours is the most beautiful.
I hope you never stop making these! They are so helpful for a budding piano performer like myself. And hilarious emoticons
Love when you do some Chopin, Henrik !
Wonderful analysis as expected. Thank you, Henrik.
I love this insight, I'll use it to help me shape this prelude even more for my recital!
Good luck with your recital!
Great analysis!
Looking forward to an in-depth analysis of Chopin prelude no. 24.
Great video! One of Chopin's shortest and easiest pieces but one of my very favorites. So tragic and somber.
More Chopin, I am excited!
Amazing prelude! And I love your analysis!
Congratulations!❤
Perfect analysis for this beautiful and strong Chopin’s Prelude, wrich harmonie was very well explaned in your vídeo ❤
I didn’t find someone who teaches and create lessons like you in TH-cam.Thanks a lot and continue please doing that
Another incredible video and analysis. I have a new appreciation for this piece thanks to you! Keep up the amazing work!!
Amazing video as always! Would you please consider for a larder video doing one of his Scherzo's or his 4th Ballade? It would be an amazing watch! Have an amazing day!
Yeah, those big pieces are high up on the list to do something about in a future chapter of the channel. We'll see.
@@SonataSecrets Cannot wait to see what you come up with!
very well done, thankyou.
This is SO funny to me. I'm composing a song in C minor and wanted to know what Chopin did with the key. So just last night, I played this very song, and here it is today! lol. Also loved the phrase: "never anything else than what it always was, and it was always going to end up..." just perfect. Thanks again for your happy teaching face. 😇
Love this one. Thank you.
Here we go! Loved your last one. Very excited for this.
Really great analysis Henrik! Keep 'em coming!!
Love it Henrik! Thank you!
Very inspiring, I truly appreciate the effort you put into these.
I must have been playing this right as you uploaded.
hello, there is a piece that i wanted you to analyse for a long time. it is chopin's nocturne op 48 no 2. you analysed the first piece in the opus, and the two after it. so i would be really happy to see your interpretation of the nocturne, both musically and analytically :)
Interesting that you describe the 2nd chord in bar 6 (French augmented sixth) as an Ab7 with a flat 5 whereas I would think it makes more sense to think of it as a D7 (in 2nd inversion) with a flat 5. Firstly, it is notated the way I describe with an Ab being the flat 5 of a D7 rather than spelling the D natural as an Ebb (in an Ab7 flat 5) but also it makes more sense to think of it as an altered D7 being the dominant to the G which comes after.
I remember watching a wwii documentary called wings of the Luftwaffe and they had an orchestral version of this, along w Ride of the Valkyrie, as some of the main theme music. I enjoy playing this on piano: short and easy but sounds impressive.
The RH E note that appears in the end of the 3rd bar is an E natural rather than E-flat.
It just doesn't sound right to me with an E-flat there.
Great video, I really love this prelude. I find that all of them are small gems.
In the repetition I don’t like to use the una corda pedal, but I get the point. The reason is that i feel you loose the character of the piece with it and when you did it, once more I corroborated it. I think you can still get a different color without that pedal. It is a matter of cushion well your chords and you get a different effect. The character of the piece is maestuoso with the opposite feeling of triumph
Inspiring! :)
My favorite performance of this price is ezzio bosso’s.
I love your videos although I understand a fraction of them 😅. Could you make a series on the basics of the theory? I would even buy it!
Yoi are aware some editions have E natural at the end of measure 3
Hold it! I am looking at beats 2 and 4 in measure 3 on what looks like an old printing of this wonderful piece. Beat 2 shows E natural in the melody, yet beat 4,showing E in the same octave, is played as Eb. I am surprised that the natural sign isn’t being observed for all of measure 3. There aren’t any Ebs elsewhere in measure 3 to cancel the E natural. I played this piece many years ago and know it well. The minor beat 4 sounds heavy and jarring. This is the fourth video I have heard just now that does this same thing in measure 3. Please explain! Thank you.
To my irritation, I hear Barry Manilow. I think he borrowed some of the music from this piece and wailed endlessly about someone named Mandy.
Could it be Magic?
Could you do analysis of Chopin's Waltz in a minor B. 150
Great upload! any chance of you going over op25 no7? thanks
Why is the sound quality so bad....?😪 I love this piece...however a little bit slower wouldn't harm the emotions.
Sorry I’m confused … isn’t bar 3 beat 4 still e natural ie C major chord ? 🤔 I play C major there …
Allo better put your pedal out shortly at each melodic
" word" to permit the auditor to clearly follw the shape Chopin gave to the sentence. Bellart
Little fast.
Great piece by Chopin but played in a very bland and boring fashion - too slow - sounds like a monotonous plodding.