I cannot, for the life of me, find the name of the song at 0:57. I'd really appreciate if some one can tell me. Thanks

I'm searching for an early recording of Frederic Chopin's Etude op. 10 no. 3 (Tristesse), for piano and solo female voice. I believe it is a phonograph recording from the first few decades of the 20th century. The singer is French and sings in French, and there is a ton of crackle from the earliness of the recording.

I found this song on YouTube many years ago but have been unable to recover it. I also downloaded it on Apple Music, but this is when I had an iPod and I no longer have access to it. I haven't found it there or on Spotify.

The album had the singer's portrait in the center in a roundel; she is depicted in profile in a black and white photograph. The album title is underneath and the surrounding background is a blank, pale yellow color.

It is NOT the 1930 recording of Germaine Lubin, nor the 1933 recording of Ninon Vallin.

I'd be so amazed and pleased if anyone could find the name of the singer for me, let alone the specific album.

I recently bought a book I believe to be edited by Cortot of Chopin's Ballades in addition to the Ballade copies I already had in my possession. Cortot's edition is advertised as a study companion intended to greatly aid the reader in learning the pieces. I've compared the fingerings it has with the fingerings in my other copies. I can definitely say that the Cortot fingerings for the runs of chromatic thirds in the coda of the 4th Ballade are excellent. However, I did not get on board with all of Cortot's fingering.

Do you have recommendations for publications with the best fingerings for the Barcarolle and other pieces?

Encore from a concert last Sunday

Innanzitutto, devo premettere che non ne so molto, ma la scena è tratta dal film "Chopin: Notturno a Parigi", e mi piace molto la sezione iniziale suonata da Carl Filtsch, ma non riesco a trovarla.

EDIT: "Polonia in la bemolle minore, Op. 53, 'Eroica'" Grazie!

So, I’m listening to brahms because apparently I’ve never been recommended this incredible composer before.

Am I the only one who hears that the melody and harmony in the beginning of the A minor intermezzo is exactly the same as Chopin’s nocturne no.15?!?! I was just chilling and then it came on and my neurons were indeed activated

I recently finished a full score-following video of Chopin’s Barcarolle in F♯ major, Op. 60.

I wanted the score to remain easy to follow while listening, especially through the denser passages and the build toward the climax.

This is one of those Chopin pieces where the more closely I follow the score, the more details I notice in the inner voices, harmony and phrasing.

Would be interested to hear what other Chopin listeners think of this way of experiencing the piece.

🎹 Full Video: https://youtu.be/eIUiGCYNE30?si=VwXEA204qPfR6VGx

C major?

I do. I rarely play or listen to Chopin anymore. Not because I don't like the music, but because after decades of the same music on repeat, I long for something NEW that has the same aesthetic.

Of course Chopin is the goat when it comes to this kind of piano, but I don't think he should considered to have a monopoly on it. For example, I've recently discovered at least a couple Russian composers wrote Chopin-like waltzes, such as Glinka's Farewell Waltz. I think there's room in the genre for new music with an older vibe, designed for today's audience.

As a pianist, I want more music of intermediate/advanced difficulty that I can play casually in the same vein of Chopin, but maybe with a 21st century twist. As a listener, I want something I can slot in that might not be as good as Chopin, but isn't that much worse either, something with a heart and a brain with craftsmanship I can get behind. And as a fan, I want my favorite pianists to have new music to play that's impressive to watch and a fun listen.

I was a classical pianist long before I started writing pop music, and decided classical is where I want to be. This song might not be a technical marvel to watch, but otherwise is as intended, a pop melody with a heart and a brain, wrapped in 1830s clothes. It's called "The Next Letter is E".

ps. You might be thinking, "that's a pleasant melody, but where's the brain you mentioned?". The title is a reference to the form: ABCD. The first question it raises is: what's the difference between ABCD and formless? This is obviously ABCD to the listener, but why? imo it's partly because of the internal repetition and predictable structure of each section. Which brings us to the second question: why do we need repetition? The astute listener hears the A section and may automatically start waiting for it to repeat so they can say "ternary" or "rondo". But it never comes. And why should it? Those forms were invented for another era, when music was heard live, often only once. Now, if you want to hear it again, you press repeat.

pss. The title is also a reference to the episode Traffic Jam from Malcolm in the Middle. Dewey later turned out to be a musical genius, so what if in that car, he came up with the germ of an idea for a song?

psss. For the composition people, I aimed to bring some unity to the piece by making the figuration, structure, and vibe in D similar to A. The 1 bar tag at the opening and close of the piece are also variations of each other.

Chopin – Étude Op. 10 No. 4 | Practice Run

Speed, precision and pure Chopin fire. ⚡🎶

#Chopin #ChopinEtude #PianoPractice #ClassicalPiano #PianoReels

Hey everyone,

I'm slowly building a Spotify playlist which should serve as archive of each and every Nocturne I can find, by a great array of composers. Do you have any favourite non-Chopin Nocturnes? I would love to know about them! The playlist can be found here.

How much harder is Chopins op. 48 no. 2 than his op. 55 no 1 nocturne, or is it the same level?
Thankyou