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Chopin Etude op.25 No. 12- Ocean - Michel Mañanes (Live)

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Uploaded on Oct 3, 2008

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Michel Mañanes plays the Etude op.25 no. 12 in C minor no. 24.Michel Mañanes studies piano in France, Spain and Austria. With recitals for Europa and Suramerica-. He won first prize in several young piano competitions. He is a recognized and highly successful piano teacher and continues to give concerts.


The Chopin etudes are the foundation of a new system of technical piano playing that was radical and revolutionary the first time they appeared. These etudes are some of the most challenging and evocative pieces of all the works in concert piano repertoire. Because of this, the music remains popular and often performed works in both concert and private stages.Some are so popular they have been given nicknames; arguably the most popular of all is the Revolutionary Etude (Op. 10, No. 12). Although no nicknames are official, they create interesting pretext and encourage the imagination to fabricate epic works embodied by these studies. This study op.25 no. 12 is called "Ocean".
All 27 etudes were published during Chopin's lifetime. Opus 10, the first group of 12, were composed throughout 1829 and 1832, and were published in 1833, in France, Germany, and England. The 12 études of Opus 25 were composed at various times between 1832 and 1836, and were published in the same countries in 1837. The final three, part of a series called "Méthode des méthodes de piano" compiled by Moscheles and Fetis, were composed in 1839, without an assigned opus number. They appeared in Germany and France in November 1840, and England in January 1841.Accompanying copies of these important early editions, there are usually several manuscripts of a single étude in Chopin's own hand, and additional copies made by his close friend, Jules Fontana, along with editions of Carl Mikuli, Chopin's student.
The first etudes of the Opus 10 set to be composed were written when Chopin was still in his teens. They rank alongside the early works of Mendelssohn as rare examples of extremely youthful compositions that are regarded as both innovative and worthy of inclusion in the standard canon. Chopin's etudes elevated the musical form from purely utilitarian exercises to great artistic masterpieces.At a concert in which Chopin performed his opus 25, Robert Schumann said "A la Chopin"
Although sets of exercises for piano had been common from the end of the 18th century (Carl Czerny was the composer of a great number of the most popular), Chopin's not only presented an entirely new set of technical challenges, but were the first to become a regular part of the concert repertoire. His études are widely regarded as the first to combine musical substance and technical challenge to form a complete artistic form.They are often held in high regard as the product of mastery of combining the two, when previously technique and emotion must have been separated. This is especially poignant when compared to Czerny's etudes, which are called "emotionally meaningless" by modern critics.His effect on contemporaries such as Franz Liszt was apparent, based on the revision Liszt made to his series of concert études after meeting Chopin. Furthermore, Schumann, Debussy, Prokofiev, and Rachmaninoff, major composers of piano music after Chopin's time, all composed études in the Chopin style, with epic melodies and strict binary form.Contemporary Polish musicologist Tadeusz A. Zielinski wrote, on opus 10, that "not only did they become an orderly demonstration of a new piano style and the formulas peculiar to it, but also an artistic ennoblement of this style."
Unlike most previous technical studies, which sought to cultivate an independence of finger action driven from the wrist, Chopin's require the engagement of the entire playing mechanism from the shoulder downwards. For example, Op. 10, No. 1 consists of a series of wide broken chords whose span is unreachable for all but the largest hands — it is therefore necessary to use the arm to guide the fingers from note to note. Similarly, Op. 25, No. 10 is a study in octaves in both hands that requires powerful and flexible movements from the shoulders. Abby Whiteside, the 20th century pedagogue whose views on finger independence are perhaps the most scathing of any author on the subject of piano technique, made the Chopin Études the focus of all her writings — for her they were the final proof of the total inadequacy of any attempt to delegate either strength or direction to the weakest muscles of the playing apparatus.

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