Frédéric Chopin

[fleubis]

Thank you, kroket for Vol. 1. Phillipe certainly has chosen the choicest passages which require the most practice to perfect.

[alfor]

One more from Leonid:

To
f aithful
l oyal
e nthusiastic
u nbribable
b eloved
i nterested
s winging

alfor scan

Chopin Sonata op.35 ed. Kreutzer.pdf

[fleubis]

Ah! The Op.35 sonata at last! I just couldn't wait to see what Kreutzer would have to say about the Presto, and wasn't disappointed. There is no question about the fingering for the passage work here, (happily of which I've been doing) and the indicated pedaling adds great clarity where we very often encounter muddy water. Much fun comparing Kreutzer to the PWM edition. This Kreutzer edition ranks at the top of all the published editions that I've ever seen (IMHO) of this sonata and is definitely a terrific performers edition.

Very gratefully received by all us Chopin players, Alfred.

And now for something really different, please check out this video of Etude Op.25 No.6 from a viewpoint never before seen of this incredibly difficult double-note study:

http://www.youtube.com/watch?v=165u9k1kWFE

Very nice performance, too.

[alfor]

DearfleubisyouarewelcomeThevideoisfascinatingalthoughofnopracticaluseimho.

YoungMorizRosenthalandmiddleagedRaphaelJoseffyoncegaveaseriesofrecitalsontwopianos.
AsencorestheystunnedtheaudiencebyplayingseveralChopinEtudes(op.10,5a.o.)UNISONO!!!!!!!!!

[fleubis]

Paul Barton's unique visual perspective of the Op.25 No.6 etude is just the latest on a whole series of videos he made on learning this difficult etude.

Speaking of playing Chopin Etudes in unison, I recall Jose Iturbi and his wife playing Chopin etudes in unison in a couple of their movies--very many years ago!

[soh choon wee]

Fingering for Grande Polonaise Brillante

I have a question to ask the opinion of the members..
Is there an alternative fingering for Grande Polonaise Brillante Op22 at bar 53-66 and 97-108 (right hand), at the Paderewski edition, vol XV page 138 and 140. I think everyone will play the conventional fingering, like those given by Paderewski. This conventional fingering is so simple, so natural and so convenient.
My issue is, many who used this fingering (particular students, but also in some concert pianists) will loss the 6-8 tempo, and sound like some kind of 4-4 tempo. The less capable students tends to play with a heavy thumb, and even the more advance one, because the recurring 1-3-2 will reinforced the 4-4 tempo. For quite sometimes, I had been wondering is there any better fingerings (certainly more complex) that can prevent the improper execution.

[alfor]

Fingering for Grande Polonaise Brillante

I have a question to ask the opinion of the members..
Is there an alternative fingering for Grande Polonaise Brillante Op22 at bar 53-66 and 97-108 (right hand), at the Paderewski edition, vol XV page 138 and 140. I think everyone will play the conventional fingering, like those given by Paderewski. This conventional fingering is so simple, so natural and so convenient.
My issue is, many who used this fingering (particular students, but also in some concert pianists) will loss the 6-8 tempo, and sound like some kind of 4-4 tempo. The less capable students tends to play with a heavy thumb, and even the more advance one, because the recurring 1-3-2 will reinforced the 4-4 tempo. For quite sometimes, I had been wondering is there any better fingerings (certainly more complex) that can prevent the improper execution.

You refer to the Andante spianato! Every pianist should be able to avoid false accents with the thumb! Chopin's original fingering for bar 53 (note 2 to 7) is: 4-2-1-4-2-1. If using this fingering or simplified 3-2-1, I would recommend a simple exercise:

hold down the D with the 2nd finger and carefully practise the thumb playing the scale down from B to E (B, A, G, F sharp, E) without pedal, tenuto and piano or pianissimo - slow to medium fast tempo!

Given the fact that - if any accent at all - it should be at the beginning of each six notes (i.e. at the beginning and in the middle of each bar), there would be the following alternative fingering (from 2nd note of bar 53):

5-4-2-3-2
1-5-4-2-3-2
1 etc.

bar 97:

3-5-4-2-3-2
1-5-4-2-3-2
etc.

[soh choon wee]

Fingering for Grande Polonaise Brillante

I have a question to ask the opinion of the members..
Is there an alternative fingering for Grande Polonaise Brillante Op22 at bar 53-66 and 97-108 (right hand), at the Paderewski edition, vol XV page 138 and 140. I think everyone will play the conventional fingering, like those given by Paderewski. This conventional fingering is so simple, so natural and so convenient.
My issue is, many who used this fingering (particular students, but also in some concert pianists) will loss the 6-8 tempo, and sound like some kind of 4-4 tempo. The less capable students tends to play with a heavy thumb, and even the more advance one, because the recurring 1-3-2 will reinforced the 4-4 tempo. For quite sometimes, I had been wondering is there any better fingerings (certainly more complex) that can prevent the improper execution.

You refer to the Andante spianato! Every pianist should be able to avoid false accents with the thumb! Chopin's original fingering for bar 53 (note 2 to 7) is: 4-2-1-4-2-1. If using this fingering or simplified 3-2-1, I would recommend a simple exercise:

hold down the D with the 2nd finger and carefully practise the thumb playing the scale down from B to E (B, A, G, F sharp, E) without pedal, tenuto and piano or pianissimo - slow to medium fast tempo!

Given the fact that - if any accent at all - it should be at the beginning of each six notes (i.e. at the beginning and in the middle of each bar), there would be the following alternative fingering (from 2nd note of bar 53):

5-4-2-3-2
1-5-4-2-3-2
1 etc.

bar 97:

3-5-4-2-3-2
1-5-4-2-3-2
etc.

Thanks, Alfor, for your suggetions.
On a lighter side.... yes, every pianist should be able to avoid false accent of the thumb.... I wish that is so too for piano student. I was unfortunate to have to teach 10-18 years old, not very motivated students. In asia, more often than not, it is the parents who force their children to have piano lessons.... and I had a ver bad day trying to explain the fine difference of Chopin's writing 6-8, 3-4 etc in this excellent piece to a very unmotivated, uninterested and unmusical student. My usual trick of distorted tempo, and shifting accent does not fall well... and I keep hearing 4-4 when this part comes.

[alfor]

Rare Spanish edition of interest (from 1919):
handwritten comments in French (partly translated into Spanish)
by famous pianist Edouard RISLER. No fingering.
(Preceded by a Minuet by Mattheson).

nms

Chopin Ballade op.47 ed. Risler.pdf

[soh choon wee]

Rare Spanish edition of interest (from 1919):
handwritten comments in French (partly translated into Spanish)
by famous pianist Edouard RISLER. No fingering.
(Preceded by a Minuet by Mattheson).

nms

Chopin Ballade op.47 ed. Risler.pdf

Risler's edition is certainly a rare find.... but i am not satisfied with just one work.... Oh, is there more to come??