F. Chopin - Prelude no. 23 in F major Op. 28 no. 23 - analysis. Greg Niemczuk's lecture

[@joannawronska4100]

SO WONDERFUL AS ALWAYS!!!! Thank you for this Prelude known as "Łódź Przyjemności" in an excellent rendition and for your analysis/tutorial, Btw. from my favourite pianists only Aimi Kobayashi (Japan) reached the final of The International Chopin Competition, again my best regards, have a nice Sunday/happy new week. Joanna

[@jorgel.martin9505]

Great job your analisis of Chopin's music, Greg. I'm enjoying it!!. About this Prelude, I think it may be a tribute to Muzio Clementi. The motive and the figuration are similar to that of exercise 48 in G minor of Gradus ad Parnassum, work that Chopin knew (in English translates as 'Steps to Parnassus', hence the rise in register in the prelude).

[@ΜιλτιάδηςΒιτσικουνάκης]

An outstanding analysis of another predominant jewel among the others 23, composed by Chopin !!! Thank you so much, Mo Niemczuk !!! Yes, it is a pastoral sketch, the chaste value of which, undoubtedly lies beyond any quantity of notes and duration of the idea. Exultation and calmness are more than evident in this divine sound and harmony !!! Unique moments of inspiration and purity !!! Non-the-less, a high f natural legato, between bars 15 and 16, transformed to an arpeggio-thunderbolt-chord, creates an unsurpassed difficulty even for "gigantic" hands, unless played staccato. In this respect, a sixth or seventh finger should by no means be of no use ...

[@annacerbara4257]

At the end of this video the very good maestro Greg Niemczuk discusses the meaning of the E flat on the left hand in bar 21and gives different interpretations, none definitive. I hope I don't appear presumptuous (I'm not a piano professional, but I took the exams at the conservatory up to the 7th year and I prepared the 8th, even if only, let's say 80%): I would like to propose another interpretation and that is that this E flat, together with the three notes that precede it, C, F, A, could be an evocation of the E flat on the left hand in bar 12, albeit with a different rhythm, preceded by the same notes ; it would seem reasonable to me: just as part a of the prelude is evoked in the coda, a small segment of part b would be also evoked. Perhaps you like this interpretation? ... a big 👏 for the maestro. 🎼 🌿 🌻

[@gregniemczuk]

Wonderful!!!!! Thank you for enriching us with this comment and interpretation

[@hsw5878]

Elegant performance and discussion, Greg! To support the pastoral concept of key of F major, I would like to add Robert Schumann's "Happy Farmer." (Fröhlicher Landmann, Album für die Jugend Op.68 - 10).

[@franciscopetracco5553]

Lovely prelude! I like Ashkenazy's performance on this, he plays the antecedent phrase lovely legato and the consequent phrase with a bit of playfulness.

[@franciscopetracco5553]

If you want, heres the link kzbin.info/www/bejne/qZu0gpmppZ2bqac

[@gregniemczuk]

Thank you! Lovely! I love to play this Prelude, it's one of my favorites

[@msagataondine9]

It feels similar in character to the G-Major Prelude, except that in this prelude, it is the right hand which takes the lead.

[@gregniemczuk]

Well, the character is different I think but you're right - the way it's written is similar, but the right hand takes the lead

[@leandrohernanbardach3874]

Scent of the green Papaya. Subtle and joyful.

[@gregniemczuk]

I know this movie and I love it!

[@NN-rn1oz]

It seems this piece is a prelude to the next prelude. However this still does not mean that the _whole_ Op.28 was meant to be played as a set. I know that this is subjective but I find that preludes 1 to 16 do not sound good in succession, but then preludes 17 to 24 work very well as a unit. As such, I find that the whole opus played as a set _can_ sound good despite the disjointed effect of 1-16, because the last 8 preludes can build up to a satisfying ending as a unit. I hope one day you will record your version! I would love to hear it.

[@gregniemczuk]

Your opinion sounds very good to me and makes a lot of sense! I will record them in 2022, it's my goal and dream. And these analyses are the preparation for that!

[@keegansimyh]

@@gregniemczuk When learning a piece, do you usually analyze the piece while learning or before learning it? I imagine after you starting playing it fluently, you might notice some new details?

[@gregniemczuk]

@@keegansimyh usually during and after learning it.

[@gertjanhox]

Now if he only could play it :)