Chopin was not french at all, his father was born in Lorraine. Lorraine belonged to the king of Poland Stanislaus I. Leszczyński, so Lorraine was polish !!! After death of Stanislaus many polish people went back to their home country, so did Chopin´s father. Why else should one move to Poland those days. There are also people saying one teacher of Chopin was german (Josef Elsner), but he came from Silesia and was polish; a german name was protection.The addition Bartholdy was protection, too !!!
"the leading interpreter of the piano works of Chopin?" another person with little knowledge of classical music reading a bio here - Pollini, Argerich, and Zimerman may have only won the same competition - but also are known as much bigger interpreters of Chopin (okay, not in body size).
@classicalalways pollini would, and should be categorized at a lower level than ohlsson, argerich and zimerman. not all the best pianists and musicians are the most famous ones. if musicianship was based on fame, then would that make lady gaga a better musician than rubinstein or horowitz? with that said, i do think the bio is a bit exaggerated.
Thanks for uploading.. I've just spend a wonderful and educational 80 minutes and learned a lot about this great composer. I love the way this man talks about his passion and shows real insight into the way this music has to be played.
the he begins to describe @ 27:07 is an interesting observation about chopin. this technique by modulating through different keys which share characteristics is used by many of the recent virtuosic guitarists of our day. it is called pitch axis theory (popularized by Joe Satriani.) Say your piece ends with a C major chord. you have two keys to switch to that are tonally related. you have two options to modulate your key to: G major (E minor), or F major. Why? because of modes.
I disagree.. what I think Garrick is saying is that there is actually no theoritical logic into the modes Chopin is choosing. Take the key of 2nd and 3rd mazurka, B against Ab.. no musical connection but the ending note of no. 2 equals the starting note of no. 3.
So there is a purely musical connection but certainly not a theoretical connection.
The interviewer looks like he's annoying the hell out of Garrick.
theblueisyou 1 week ago
3:00
theblueisyou 1 week ago
This is absolutely brilliant, thank you so much for sharing it.
mrusso8 3 weeks ago
This is a fascinating lecture. I especially enjoyed his insight on the D-flat nocturne; it will be very helpful for my studies on this piece :)
classicalchristina 1 month ago
I must say I enjoyed it.
FirstGentleman1 3 months ago
Chopin was not french at all, his father was born in Lorraine. Lorraine belonged to the king of Poland Stanislaus I. Leszczyński, so Lorraine was polish !!! After death of Stanislaus many polish people went back to their home country, so did Chopin´s father. Why else should one move to Poland those days. There are also people saying one teacher of Chopin was german (Josef Elsner), but he came from Silesia and was polish; a german name was protection.The addition Bartholdy was protection, too !!!
junghesse 8 months ago
Comment removed
surgere94 11 months ago
Comment removed
surgere94 11 months ago
Wow, fantastic stuff. Really insightful!
keetner 11 months ago
One of the best renditions of the Nocturne (and deconstructions) I've heard - so beautiful!
RWinkley02124 1 year ago
beautiful playing!
JOTHYJOTHY 1 year ago
why does the interviewer bug me so much?
fledgehog 1 year ago
The reason he couldn't play the 1848 Pleyel correctly in pp passages is because the restoration is poor..
The crown on old Pleyels was not as much as modern pianos.
The biggest difference is due to string tension which was lower on old Pleyels.. nowhere near the tension of modern pianos.
Pleyels were supposed to play quietly because they were salon instruments
Pleyel did not make many concerts grands, most of the pianos were standard length.
Erard did make quite a few concert grands
acortot 1 year ago
Steinway did not invent cross-stringing, Pape did in the early 1800's
acortot 1 year ago
garrick play perfectly
wrigleyx 1 year ago
What is fame anyway? Ohlsson is one of the small handful who are revered by other professional pianists. Like Mariss Jannson among conductors.
assindiastignani 1 year ago
"the leading interpreter of the piano works of Chopin?" another person with little knowledge of classical music reading a bio here - Pollini, Argerich, and Zimerman may have only won the same competition - but also are known as much bigger interpreters of Chopin (okay, not in body size).
classicalalways 1 year ago
@classicalalways pollini would, and should be categorized at a lower level than ohlsson, argerich and zimerman. not all the best pianists and musicians are the most famous ones. if musicianship was based on fame, then would that make lady gaga a better musician than rubinstein or horowitz? with that said, i do think the bio is a bit exaggerated.
blade42251 1 year ago
Every pianist should watch this! What a great teacher as well as a brilliant pianist.
silentfilm2 1 year ago
i'm really glad i found this thanks very much for uploading
CheekyVimto08 1 year ago
Thanks for uploading.. I've just spend a wonderful and educational 80 minutes and learned a lot about this great composer. I love the way this man talks about his passion and shows real insight into the way this music has to be played.
Wonderful!
Bernabe1A 1 year ago
he's got great personality and great insight!
rankfrankrank 1 year ago
great explanation of the Op. 27 nocturne around 40:00
zzzzzzzzzz202 1 year ago
the he begins to describe @ 27:07 is an interesting observation about chopin. this technique by modulating through different keys which share characteristics is used by many of the recent virtuosic guitarists of our day. it is called pitch axis theory (popularized by Joe Satriani.) Say your piece ends with a C major chord. you have two keys to switch to that are tonally related. you have two options to modulate your key to: G major (E minor), or F major. Why? because of modes.
SirJamestheIII 1 year ago
@SirJamestheIII
I disagree.. what I think Garrick is saying is that there is actually no theoritical logic into the modes Chopin is choosing. Take the key of 2nd and 3rd mazurka, B against Ab.. no musical connection but the ending note of no. 2 equals the starting note of no. 3.
So there is a purely musical connection but certainly not a theoretical connection.
Bernabe1A 1 year ago
@Bernabe1A not saying that was what chopin did but that is how people do a similar thing today. chopin may have subconsciously done the same
SirJamestheIII 1 year ago