All Chopin WEIRDEST passages

[@umanathshetty7232]

György Ligeti said that the sonata 2 finale is one of the first atonal pieces in the world

[@ricardorivas5955]

but its not atonal, just diminished

[@erwinschulhoff4464]

i wouldent say its atonal, i can make out of a tonal centre quite easily acutally.

[@RModillo]

I just zipped around KZbin to listen to it-- depending on who's playing, it can be quite tonal. Interpretation really matters on that one. Try Rachmaninoff and Rubinstein.

[@jotaaragonesa7603]

Where he said that? Was an interview?

[@SCRIABINIST]

It's not atonal, just really chromatic. Nonetheless, it's very forward for its tiime

[@petermerelis]

these moments are some of the MOST Chopin-esque.

[@carlhopkinson]

The Sonata 2 finale follow the "funeral march" movements and is said to represent the wind whipping through the cemetery gravestones.

[@Alessandro.h]

That's the interpretation of Arthur Rubinstein if I remember correctly

[@JLFAN2009]

@@Alessandro.h I believe it was actually Sergei Rachmaninov who characterized the movement thus.

[@user-js2sv]

4:06 Chopin is so talented he predicted the Harry Potter theme

[@orchinthedungeon]

Hilarious observation! XD Love it!

[@Tintin19950214]

Also Rach 3 lol

[@LanceWalton]

I think one of the Beethoven Sonatas has the Voldemort leit-motif.

[@The_Entertainer-]

John Williams stole/inspired all his music from already existing themes.

[@liegon]

1:20 This chord is so beautiful, the fact that he cheekishly resolves it while dropping the harmonization is hilarious.

[@NiklasFischerComposer]

It's like the ending of the B-flat minor sonata leads straight into the 2nd scherzo.

[@wokkus5610]

I’m surprised that the second prelude is so unpopular. I love it

[@SerpongeDash]

And yet, it's in a masterclass of a film (Ingmar Bergman)

[@deborahspiano]

Also me ❤

[@brightwolf8436]

Chopin evokes some very dark moods in this piece, so it's hardly surprising it is never performed as encores or has a low listening rate. I also love it! Good example of how Chopin bends the rules by applying time shifts on the reoccurrences of the theme and it's fragments later on, while harmonically developing into even more blurry and dark moods, and progressively distancing the harmonic relation between the left and right hand, until finally resolving into the tonic of the piece for the first time. Scriabin must have loved this pieces as well

[@quanlethienminh6002]

lol yeah same here, prelude no. 2 for me is up there in terms of Chopinesque with no. 4 and 6

[@wokkus5610]

@@quanlethienminh6002 no. 6 is super underrated. one of the most beautiful pieces he ever wrote

[@austinwgentry]

Also the fact that the F major prelude ends with that strange Eb

[@wesleyhawks]

which one? Not the F major op 28 nr 23

[@ethanliu403]

Yes, Op. 28 No. 23 ends with an Eb pedaled, making the ending chord an F7.

[@nikb6176]

It is deliberately done, so it hits the leading note into the final prelude landing on the dramatic d minor bass opening.

[@jtbasener1810]

It is always such a poignant experience to hear the music of a man on death's doorstep. It really reminds us humans just how fleeting our existence is that we so dearly relate to the dread of losing everything at the moment of departure.

[@HR_Racc]

For those who believe in Jesus, our departure here is just the beginning.

[@jtbasener1810]

@@HR_Racc I am a Christian actually, so I give a loud amen and halleluiah to that reality. That the God of existence itself would die for us fleeting creatures who have nothing on our own save the few years He gave us will never cease to astound me. The realization that we are so poised to become absolute nothing after death makes it beyond astounding that Christ came down to make us so much more.

[@HR_Racc]

@@jtbasener1810 Well we don’t become nothing after death, we either pay for our own sins and go to hell or we have accepted Jesus in the life before and His payment of our sins and are free to enjoy God forever.

[@wolowolowolowolowolowolowo2417]

Someone’s already mentioned it, but I will always consider the 2nd impromptu’s modulation from D major to F major as the most “wtf” moment from Chopin lol

[@Liszt-vj1mo]

Lol

[@BrewBois]

Can’t remember what it sounds like, but D major to F major seems sort of normal to me. Mostly because D minor is D major’s parallel and F major is D minor’s relative

[@wolowolowolowolowolowolowo2417]

@@BrewBois It's not really about the relationship between the keys, it's the passage where he does it. Instead of a seamless transition, the music fades out, and you have one of Chopin's most jarring 2 bars of almost atonal music placed in the middle of two beautiful themes.

[@kent.1337]

that first mazurka is really underrated

[@pawdaw]

The strange series of chords just before the coda of the Fourth Ballade are always shocking to me because they just seem to come out of nowhere.

[@tudorcucer907]

Chopin fugue

[@brioche5845]

Hell yeah... Pretty much a study work related to its early times as a composer/musician anthousiast. Chopin was a huge Bach fan and I'm almost sure he did began it all with its music.

[@GeodesicBruh]

What a meme

[@Viktorvelat95]

Chopin’s fugue is actually an invention for 2 voices… just like the e minor fugue from the WTC1, that’s also an invention

[@Medtner26]

I’d add the polonaise-fantaisie. The introduction has some nuts modulations that are unlike anything he ever wrote. Not to forget the coda, whose bare octaves in the left hand sound like Liszt and the right hand like early Scriabin.

[@wanisz_]

I love the format of the video, good luck with your channel, I'll be following your progress

[@Alessandro.h]

@@wanisz_ ♥️

[@ALFHAKANSUNDIN]

Thank you for compiling these pieces. One after the other, they get even better. And it's not weird at all, just pushing the barriers of tonality. And it doesn't necessary have anything to do with depression either, this is just fantastic music! I don´t understand how he managed to get this down on a paper, but that's the same wonder with all composers before the age of computers.

[@j9rq560]

Personal notes: The RH solo in the 1st piece sounds like happy birthday to me The bass line in the 4th piece sounds like the Dies Irae line (like from Symphonie Fantastique)

[@Hyde2997]

i was waitiing for the sonate no 2 until the end x) very good concept and there a lot of other wierd moment with chopin. especialy with mazurkas

[@TOml0l3times]

I KNEW YOU WERE GOING TO PUT THE LAST MOVEMENT OF HIS SECOND PIANO SONATA!

[@johnchessant3012]

the A minor prelude (unintentionally?) has Dies Irae over and over in the "middle line" of the left hand

[@brightwolf8436]

Yes, there is some relation in there. Unintentionally or not, it does not matter.

[@clevnax]

This is a very nice video thank you! But somehow i think those aspects you find weird are definitely a composant of chopin's music that in my opinion are central to define it : harmonic ambiguity, free form, diminished and chromatic curiosity... add virtuosity : that's all Chopin! Sonata 2 finale is such a beauty though, i wish i could play it.

[@davidlippincott9566]

The end of the Op. 25 No. 5 etude is one of my favorites of all time; it captures such a warm feeling that echoes the major middle section of the etude while being an incredibly satisfying conclusion

[@NanaKwame96]

Totally left out that one section in his second piano Impromptu where he uses some progression to modulate from D Major to F Major. Great video nevertheless!

[@Alessandro.h]

@@NanaKwame96 you are right I forgot it :P A really beautiful modulation btw, which shows Chopin's improvisation skills in the purest way ♥️

[@eireendonegal6915]

Although the prelude in 3:00 is not that popular, it featured in Ingmar Bergman's Autumn Sonata

[@brightwolf8436]

There is multiple reasons as to why Chopin was a genius of his time, and now, and has influenced so many composers after him. For one, not being afraid to deviate from expected form, tonality and harmony to achieve a pleasing end result he had in mind. This clip is a great small glimpse of that!

[@950name]

Imo, those are not even that weird. I would maybe call them strange as in "not very basic", but not weird. Actually, i think moments like these make the best music of all, because precisely at this moment the composer, while unburdened by all what is expected, speaks the most honest, and you can actually hear what they have to say. That is what defines everything that makes a composer a composer, for me, at least

[@Alessandro.h]

I agree with you, and that's why the ones shown in the video are some of my favourite moments in Chopin

[@brightwolf8436]

I totally agree!

[@più_lento_28_13]

for the Nocturne op 32 no 1 ending i have thought of something: the piece was composed around the time his promise of marriage with Maria Wodzinska was brutally ended by Maria’s parents (because of Chopin's poor health). Chopin has put great hopes into this and was deeply affected by this turn of events. The piece feels and begins like a sweet dream in B major but is haunted by these subito « strettos » and « fortes » with a sudden fermata silence. Like something is looming in the shadows. But eventually, for now before the coda, we go back to the sweet melody. The following bars after this silence are a kind of duet, like between Chopin and Maria, but in reality is composed of diminished chords. Sounds in major but is intrinsically tense. It wants to be happy, but somehow cannot. Anyway all this to say in the entire piece there are « hints » of the death of this dream, the nightmare was looming throughout the piece and takes full form in the coda. His engagement, his dreams have been suddenly destroyed like his engagement never existed , and what has felt like a dream is in fact waking up into the dull and nightmarish reality of life. So the coda is like burying that dream of a relationship. In my opinion listening to this piece with this in mind kind of unlocks a totally new understanding of it. Anyways just my interpretation, i think this nocturne is very underrated ! :D

[@Alessandro.h]

Love it, this is the best interpretation I have ever heard so far

[@angreagach]

The ending is often bowdlerized, with the final chord changed to major (as in the first German edition).

[@più_lento_28_13]

@ yes and it’s a shame … it’s out of place, and the urtext edition has a b minor chord

[@HPYB]

Great selection!

[@steadyeddie3251]

The second prelude is among my favourites and it shows what a brilliant composer Chopin was

[@derby2510]

Good list. There are some weird, rambling, harmonically vague passages in the Op. 61 Polonaise-Fantaisie that would have been good examples for this video, but I know that you only have so much time at hand to make these enjoyable videos.

[@CatkhosruShapurrjiFurabji]

I could see the last one coming but honestly, I think the second prelude is far weirder than the finale of the last sonata. At least the latter is tonal with chromaticism in between (and it's the chromaticism and the fast pace that gives the impression that it is "atonal"). The second prelude is just wandering, with a resolution only in the end of the piece, and with a lot of dissonances before that.

[@michaeledwards1172]

Another slightly weird passage would be in the Impromptu no. 2 in F# major - the two bars immediately before where the 2-sharp key signature changes to a 1-flat key signature. James Huneker, in his essay introducing the impromptus in the Schirmer edition makes a big deal out of this (but his florid but evocative prose tends to make a big deal out of almost everything about Chopin's music), and talks about it creaking on its hinges and similar, and he likened those two bars to Schoenberg in their radical nature. I don't think I'd go nearly that far myself; but the two bars are rather strange, all the same.

[@MichalDirer]

and the moment in piano concerto seconds after, he modulated greatly to the third major and put main theme is the nicest, and you missed it ;)

[@markmason7117]

I can think of six weirder examples off the top of my head: Etude 4 Opus 10 middle; Ballade 4 rapid chord passage; Scherzo 4; Suicide Prelude; Scherzo 1 suspended chords in coda; Barcarolle dissonant polyphony after second waltz section.

[@eighborl367]

Bro bringed me some of the beg of Fur Elise at the start XD btw I like the end of that Finale

[@neon9601]

I think the diminished chord section in the piano concerto sounds magical like fairys or leaping frogs or something!!!

[@SerpongeDash]

The final piece reminds me of the prelude op 28 no 14 i almost expected it to turn into this

[@Roescoe]

You picked a list of some of my favorite moments. And yes they are odd in characteristic.

[@Roescoe]

That section of his 1st piano concerto always reminds me of metal ringing or maybe a bell.

[@yannd6817]

Nice videdo concept ! I agree of course on sonata 2 but I wouldn't say the other passages are not chopinesque. They are rather formally surprising. I would have included the fugue, the tarantella, moments of op.16, op. 45, prelude 18 and a very weird modulation in the 2d impromptu.

[@joaquindalessio]

Another Chopin's passage that impresses me is the central section in 2nd impromptu, particulary the figuration in the left hand... Really unusual in Chopin's literature.

[@JoeLinux2000]

Very fascinating. The thing about Chopin is that he had an exceptional sense of taste and his oddities are very well crafted, something like the church in Barcelona.

[@Alessandro.h]

The sagrada familia :P

[@dipatata_87]

To contribute with my opinion, I find the dramatic moment of the first movement of the sonata 2 (yuja wang live version is at 5:20) very weird. I didnt see something similar in any piece of Chopin. Its a very unique moment.

[@trumpeterchris]

Wow I had never heard the 2nd sonata! Mind. Blown.

[@Alessandro.h]

@@trumpeterchris the third movent of that sonata is the really famous "funeral march"... Check it out :)

[@anthonydecarvalho652]

What an extraordinary genius he was. Such wonderful music 🎶

[@tarikeld11]

I really love this video idea! Would be interesting to see Beethoven's strangest passages

[@Alessandro.h]

To be fair, I don't know Beethoven enough to do it... But I could do so just for his sonatas

[@jacobschiller4486]

The video would be almost entirely his last Piano Sonatas :P

[@sciagurrato1831]

It would be an even better video has you selected superior performances.

[@DynastieArtistique]

I’m surprised you didn’t include the strangely chromatic and non-melodic passage in the barcarole, that’s at the end of the B section right before the Db Major transition back to the A section

[@Alessandro.h]

You are right, I could have put it It's just that I listened to the barcarolle sooo many times I forgot about the uniqueness of that passage lol

[@Rach-Fanatic]

The final movement of the 2nd sonata, best listen to Rachmaninoff’s performance, it is the best interpretation and is very clear.

[@しゅん東方ピアノ奏者]

Prelude No. 14 and mazurka op6-4 is also quite strange.

[@alessandropelizzoli6613]

But odd and "bizarre" are not really strange things " chez Chopin", as remarked ( even if in a cruel way) by L.Rellstab... If Rellstab said that eccentricities are not real beauty in Music, well...this was a problem only for Rellstab, i think...the greatness of Chopin implied all these " weird things", as a undeniable part of real Chopin's Genius...

[@Alessandro.h]

@@alessandropelizzoli6613 I 100% agree And my "weird" doesn't have a negative connotation by any means :)

[@MyAnno1404]

For me the Ballade 4 Coda deserves a mention because its too complex for the normal listener

[@Alessandro.h]

@@MyAnno1404 For the average listener, 90% of Chopin is too complex to be fair

[@MyAnno1404]

@Alessandro.h For me C++ is too complex

[@zhihuangxu6551]

I don't find prelude 2 boring at all because I know the "dies irae" motif

[@michaeledwards1172]

Have you thought of doing a series of "weirdest passages" videos, each focusing on a different composer? Maybe you couldn't find weird passages in all composers, but I think you could in some. Beethoven, for example, definitely did some weird things in his late music especially. I wonder if Debussy did; I can't quite tell. When I first encountered Debussy many years ago, I began with Book 2 of the Preludes, and I at first thought it was *all* weird - but that was because it was so incredibly original, and I don't think that counts; and when I got used to his style, it ceased to seem weird. So weird has to be measured against the norm for the composer in question; but when someone is as original as Debussy, it might be difficult to tell when something is weird. Anyway, it's an idea that might yield interesting results: weird passages in various composers.

[@Alessandro.h]

That could be an idea Yes, as u said if a composer is extremely original by itself like Debussy, liszt or even Bach it's practically impossible to do, but with composers like Mozart or Rachmaninoff it could be an idea Thanks for the advice :)

[@jeffscop]

#4 and #6 were painful.

[@bl4z3j]

What I think should be also included, maybe next to the passage from the 1st concerto, is the ever-so peculiar middle part from Etude in E major Op. 10 No 3. Other than that - great video!

[@APFELSTRUDELL]

chopin is never weird.He s always un genius

[@MoleGamingPlus]

The channel name is written in C++.

[@happypiano4810]

There’s a section towards the end of Chopin’s tarantella with a strange repeated left hand chord. Also, I’d argue the octaves in heroic polonaise are unlike chopin.

[@lewisb9226]

The ending of the c major mazurka op. 24 no.2 is wonderfully odd

[@Alessandro.h]

@@lewisb9226 I played all Op 24 mazurkas and I can confirm ahahahaha

[@Jqh73o]

The preludes in F minor and Eb minor could also be on this list

[@Alessandro.h]

@@Jqh73o yess, I thought about it but in the end I decided to put just a single prelude, the strangest one, to avoid the video being too repetitive

[@orchinthedungeon]

@@Alessandro.h But the e flat minor prelude is in fact like a compressed version of the sonata finale...

[@27b563]

Chopin be lyk: Introduction: Lovely, beautiful, heavenly Coda: Weird. What the hell??

[@fredericfrancoischopin6971]

About weird preludes: Op 28 no 5, D major one A very flighty and strange prelude. Except for the beginning, the rest is not in major, it is like continuous modulation. No 14/ prelude no 27 "devils trill" I will talk about both because no 14 seems came from devil trill sketch No 14 It may not be very interesting, but it is definitely a menacing piece filled with gloom. Devils trill is Even more enigmatic than that No 18, It's a short dramatic piece but it's not as capricious as No. 16, it's more threatening like No. 14 but more violent, I think Bulow's nickname for it was suicide. It really fits a suicide scene Prelude op 45 It may not be strange, but it is quite interesting that this piece contains only one cadenza written by Chopin, and the harmony is interesting too!

[@David-R.]

The last one sounds like playing a record backwards! I wonder what it would sound like if it was played backwards!! would it sound normal?!

[@dogwithabome630]

fascinating

[@jameshandaja1536]

Hahaha...I correctly guessed what will appear at #6

[@Alessandro.h]

Great job ;)

[@rufescens]

A couple of these I find not so atypical at all. Quite a few of the Mazurkas have these single-line passages. The diminished chord section of the e minor concerto is reminiscent of the end of the D-flat Major nocturne. And that B Major nocturne isn’t the only one with an impassioned recitative. But yeah, the “wrong note” etude is one odd piece! (When you referred to Chopin’s most enigmatic piece, I thought you were going to play the fourth ballade. 😁)

[@tarikeld11]

0:58 did he write explicit rests in his manuscript or was it just blank? If there are rests, it must be intentional

[@Alessandro.h]

I have no idea, I will check :)

[@mantictac]

Unfortunately I believe the manuscript for this piece was lost! For the few of Chopin's posthumous works published by Fontana that manuscripts still exist for, we know that Fontana was not very faithful to the original text, so it may just as well have been intentional or just a rough sketch of a melody in the margins. Compare the Urtext Op 70 No 1 to the version published by Fontana, as well as Op 69, Op 67/4 etc.

[@tarikeld11]

​@@mantictac Ah, nice to see you here! I just compared the Urtext of Op. 70 No. 1 to the published editions, it's already different in the first measure. I'm not really happy about that, because I think a composer knows best how to to notate his music...

[@michaeldd8948]

Every chopin piece that's not nocturne op.9 no.2 is weird Everyone seems to think that chopin have a certain style of composition. Well yes, he does have a unique style but I feel like it's only applicable to his melodic passages, anything but that is really "weird" of you think about it

[@bl4z3j]

If you dive deep, even nocturne op. 9 no. 2 has its oddities - like this one extraordinary chromatic modulation in chords connecting every b part with a part (B-flat maj to B7 to E maj to C7/E to F7 back to B-flat7 has something jazzy in it) or the fast-note ending coda

[@Pamtrucas]

Damn i lov chopin

[@RModillo]

And who played the opening cut? Very lovely rubato!

[@Alessandro.h]

@@RModillo It's Stanislav Bunin :) Indeed, a lovely interpretation

[@ThaPAnthem]

wow u put all of these "weird" moments but not the middle part of étude 3 op10. That one beats all of these although all of his harmonies are justified theoretically even if it's "weird". Personally these exemples don't seem weird too me, but I guess that's because he put a lot of chromatics and diminished chords to make it sound darker. The weirdest part of his is the most tonal part of Schoenberg XD.

[@schubertuk]

Hmm. LIke the list, and since you asked for comments: (5) from the Op11 Piano Concerto seems far too popular to be so far up your list - and I always find it beatiful before I find it strange - it also has precedence from Beethoven's 4th Piano Concerto; (6) The finale of 2nd Piano Sonata, Op35 - yes - I understand this being on the list, but again - it sort of works in its way it sums up the three preceding movements in a way that I find thoroughly innovating & original - so I might have put it earlier in the list too, however I do at least fully get why others may feel differently. I love the first four suggestions you make which are more obscure and 'less accepted' in terms of objective popularity.

[@annulrsolformrkelse4023]

you forgot his fugue lol

[@SuperKripke]

Always found the little spanish dance in the middle of Nocturne in C sharp minor (posth) really out of place.

[@TheGuilhermepiano]

I loved it!

[@adrianwright8685]

Hardly "weird" - a term which unfortunately now seems to be used for anything which has strayed even slightly from the plain ordinary!

[@dipatata_87]

I don't agree with anything, specially prelude n4. I find that one so chopin. Actually has similarity with n6 and n15. Its true that some in the list are "weird", but that doesnt mean is not chopin. Amazing video, even not agreeing, super interesting and very well edited.

[@Bozzigmupp]

The mazurka here is really similar to another of his pieces, but can't find it lol, someone help me

[@Alessandro.h]

@@Bozzigmupp ahaha I don't know what you are referring to

[@ExtraCrispyBits]

They're just played too fast. Slowed down, they suddenly make sense, and have clear relations to the traditional (folk) melodies that spawned them (which are far slower than this).

[@luck777y]

what does number mean

[@ZamoraMedraj]

great vid! surprised that the posthumous Fugue in A minor wasn't mentioned though!

[@Alessandro.h]

To be honest, cuz I don't like it, and probably Chopin didn't like it either since he didn't publish it :P Furthermore it's not really strange harmonically speaking

[@alyme_r]

Do this with Ravel? ... lol

[@antoniorosa2365]

Atonal means : without tonal centre , which is not the case here... I' d rather say " Athematic "...

[@KUBADUPAPUPADUMB]

Isn't using anything outside of Op. 1-65 kinda cheating? We don't know what Chopin would have done/changed if he prepared them to publish. But an interesting video! Good choices of performers and you even threw some Jim Samson in there!

[@peterchan6082]

Where is Prelude Op.28 no.14? It bears much similarity to the Finale of Sonata Op.35

[@Alessandro.h]

@@peterchan6082 I just didn't want to put two preludes in the ranking or two way too similar pieces

[@peterchan6082]

@Alessandro.h Oh haha 😄

[@veli-mattijutila1267]

The mazurka op.63/2 has really weird chromatism. Check it out! 🙂

[@antonikalinow286]

how about prelude no 14 nobody can just understand mostly the end irs much wierder than prelude 2, this prelude here seem normal nothing special

[@KangHaerinMan]

콘체르토 2악장은 예상했구 뱃노래 후반부 발4 코다

[@UnaMoscaEnLaPared]

I don't think any of this examples are strange at all.

[@philipk4475]

Quick tip: delete the first 45 seconds of this video. It adds no value to the video. You can put that all in the vid description. Otherwise, good collection!

[@Alessandro.h]

Thanks ❤

[@4mon622]

Eh, aside from the prelude, I don't see it. Even the Sonata 2 finale makes plenty of sense to me especially these days, I just go along with Rubinstein's comment "wind howling over the graves". I'd probably at least go with something like the 2nd Ballade, or the cadenza-like passage of the Tritesse Etude (that one makes no sense to me). The 3rd Scherzo is pretty weird too, but it's more expected seeing as it's a Chopin Scherzo.

[@Alessandro.h]

Opinions I suppose... To me, the ballade no 2 and that section of op 10 no 3 make perfect sense 🙃

[@MiguelTicona]

Its a language and isnt weird

[@paolobarbone2990]

Honestly I am not agree with you at all, sorry 😊 I mean for"wired" passages in Chopin's music something that doesn't work. And for this reason I am just agree with someone who mentioned about the second impromptu (amd maybe something eith the fugue, but it is such a minor work...). So what you are showing here is ehat Chopin wanted (tonal, atonal, diminuished and every thing...what does it matter really? His music often was very crepuscular, very dark). So, harmonicly speaking I think just the second impromptu has "wired" passage. Of course just my opinion 😊🙏 and thank you for posting this video

[@Alessandro.h]

It's ok, everyone has different opinions and that's a beautiful thing thanks for watching the video anyway :)

[@james0696]

You are a library mr allesandro.h

[@Alessandro.h]

@@james0696 looks like I am ;)

[@Sriram57575]

One of the weirdest endings that Chopin has ever wrote is that of his F Minor Fantaisie. It moves from a D♭m triad to A♭ traid which is truly astounding. This sense of weirdness is not about the whole passage however.

[@lewisb9226]

I don't find that weird personally, iv- I is a fairly common progression. Maybe less so as the final cadence of a piece but still

[@Sriram57575]

@@lewisb9226 Exactly its common as a progression but not as an ending.

[@MasmorraAoE]

That's an incredibly common ending. Minor sub-dominant -> Tonic. From the top of my head: - Liszt's Tarantella from Venezia and Napoli - Chopin's Revolutionary etude op. 10 nr 12; - Bach's B-flat minor prelude from the WTC 1; In fact, a lot of baroque pieces that end with a Piccardi 3rd, will have this chord progression at the end. I'm sure I could think of many more examples if I spent more than 5 minutes thinking about it.

[@lewisb9226]

@MasmorraAoE Schumann's fantasie in C, 3rd movement

[@MasmorraAoE]

@@lewisb9226 Great call! Schumann does it A LOT! First piece of the Humoresque also just came to mind as I was typing this

[@Tizohip]

Disagree with the second. 😂

[@brightwolf8436]

And like @950name commented below, there is nothing "weird" about those passages. It is typically what brings life and originality into compositions. I don't like your "viral" titles of the clips you post though, even though some are actually interesting. What are you trying to do? Shock people into liking Chopin?

[@indiegames1517]

For me, the passages that are out of tune with Chopin are the beginning of Scherzo no. 3, which seems to be Liszt, and the beginning of Sonata no. 2 by Mvt. I, which seems to be a mix of Rach and Beethoven.

[@fb7876]

Most are not weird at all in my view.

[@321musicisWhat]

AAAAA

[@gmfrunzik]

Who are you lol