ZLATA CHOCHIEVA: OBSERVATIONS ON PLAYING CHOPIN ETUDES

[@andreabiagioli3505]

she is astonishing. Her sound is wonderful, you can really hear every note of every voice even in the most difficult passages.

[@ronwalker4849]

IT IS ALSO JUST A MATTER OF NATURAL TALENT AND PHYSCAL ABILITIES. SOME PEOPLE HAVE IT AND OTHERS JUST DIDN´T SHARE IN THEIR ABILITIES. ZLATA IS GREAT.

[@meredith218461]

One of the most brilliant and musically perceptive young pianists gracing the concert platform nowadays.

[@Evwx]

Спасибо, что Вы есть!

[@Paroles_et_Musique]

Absolutely fantastic. I am preparing to Chopin etudes performance this year and this masterclass gave me tons of tricks, especially in the op10 n2 which drives me mad. Special note for the op25 n6, the thirds one, which sounds so easy in her hands, unbelievable.

[@Qwerty-hj1ml]

Summary to save the time of the video: She is basically saying that you have not to work on the etudes mechanically, you have not play at strict tempo, but you have to think just to the music, its phrases and its beauty, playing smoothly and always rubato: in this way you become relaxed and you have no tension in playing it. While practicing you have to play em slowly and exagerating dinamics and rubatos.

[@luizsette-olhovivofarofino1736]

That's exactly it! In short, find the melody! Robert Proceda showed this in a video about the II Prelude from de Book I of the Well-Tempered Clavier. It seems only harmony but, yes, there is a melody there !

[@lewlafanz6932]

Excellent teacher! She demonstrates while talking. Almost all of the KZbin “teachers”just talk too much but do little, because they cannot play .

[@MathieuPrevot]

I think that the problem is that they "theorize too much", they try to explain too much, taking the risk to claim wrong things. I think it's good however to carry an idea, a goal, a feeling.

[@opustravels3659]

So nice to hear the thoughts of this wonderful pianist! Her recording of the etudes is definitely the reference recording for me, I never heard these pieces played better

[@thegreenpianist7683]

OpusTravels Definitely great recording, I recently listened to it it's amazing, I suggest you also try Lukas Geniušas and Alessandro Deljavan recordings they are superb as well

[@DelsinM]

Pollini

[@Johannes_Brahms65]

I love this approach! It's totally Chopinesque!

[@mdavidmullins]

Learned more in this one video than in decades of study. Beyond a great player she is likely a great teacher.

[@ADGO]

brilliant pianist

[@Daniel_Zalman]

small world, Tony!

[@peterbrenton410]

A brilliant mind too, well informed and articulate

[@yoandmest4747]

Zlata is fantastic! Wonderful pedaguogue! Thanks for posting this wonderful video!:)

[@nickh1933]

Particularly love the dynamic execution around 13:57

[@Thijs-Kuiken]

heard her chopin recording... instant fan of her playing.

[@lucazalaffi1able]

Mi fa impazzire come riesce a suonare (benissimo!!!) e intanto conversare nella maniera più naturale possibile ... 👍👍👍👍👍 👏👏👏👏👏

[@robertclayton8278]

Phenomenal technique and beautiful phrasing.

[@nickh1933]

Incredible dynamics and touch here, clarity is astounding.

[@horatiodreamt]

To hear superb examples of the "double thirds", "octave" and "winter wind" etudes of op. 25, listen to the old recordings of Josef Lhevinne posted on YT. They're amazing, despite the surface noise of those old records

[@jaijeffcom]

I treasure those Lhevinne recordings.

[@andrecirillo]

You're just amazing. Superb technique and interpretation besides being so adorable. Please publish more videos like this one.

[@robertstrzelecki1568]

Very clever points that every your pianists should listen to and understand. Thanks for sharing all this with us.

[@theconnoisseur2346]

I am convinced, that Zlata is able to play a magnificent BACH. Hope, she will bring the Well Temepered soon.

[@lecomtedelalune]

"Play it like beautiful slow music." Superb advice

[@peterbrenton410]

Love it from 2.16 to 2.22 when she builds to a laugh . Utterly charming

[@fastben2010]

c' est une professionnelle , elle nous montre la meilleure façon de jouer les études sans se crisper ou trop se fatiguer mais elle a des moyens techniques bien au-dessus de moi mdr elle a un jeu très mélodique. très beau phrasé.

[@Radiatoron88]

She is so adorable! And maaaaan can she play!

[@luisgonzalez6196]

Great, great, great pianist. I would like indeed some pianist of this level live in my city.

[@morhywaden]

10:28 " This etude is not for me, actually". I have to respect Miss Chochieva's opinion but if I could plat it like that I would sprinkle myself with gold dust.

[@MrInterestingthings]

REVELATION : EVEN SLOW PRACTICE AND EXAGGERATTED ACCENTS, CRESCENDI ETC SHOULD BE musical . This woman has really figured out much. Again : relation .Find the sound and the music can take the difficulty and anxiety out of the areas where we dont find solution. Always make music she is saying. When you just move fingers you do damage to our natural humanity & abilities ! Wow ! Abby Whitehead said much the same thing in her book on theseetudes most importantly getting the rhythm in the body and hand hand mechanism .

[@nickh1933]

Yes yes yes!!

[@789armstrong]

A pianist for musicians only. Quite unique.

[@zoink5484]

spotted

[@NoferTrunions]

Oh so smooth and delicate - these etudes become ethereal wisps of sound, almost music without identifiable notes. Zlata, you are Fan-Tas-Tic! "...when you forget about it ... it comes...." I'm 63 playing since 6 and have only recently caught a glimpse of what she is talking about. While technique is paramount, I believe there are also requirements of the actual brain - if he brain is not fast enough, you cannot obtain a given speed - but it's just a theory and may be limited to the effects of advanced aging... But An interesting phenomenon not totally unlike that I have evolved to when... typewriting! First I learned the keys, then I learned words, then I forgot the keys! Common words became entities unto themselves. And when I would forget where a key is, I'd think of a word that I knew that had the key, so I could find it.

[@icecube6935]

You are lovable. Fine artist. Nice work, you are good. You are very good.

[@jpage99999]

Ok, she's incredible, that's for sure. Technique for her is art. Breathing, phrasing, not note-wise playing like Abby Whiteside says. It's all singing and about the phrase. Practice it slowly, but beautiful with phrasing and so on.

[@novellmusicmedia6895]

her hands are so free and relaxed!

[@oooodaxteroooo]

the hand are the least important part in being free and relaxed, i found. :)

[@johnely5050]

Wonderful class. Excellent pianist.

[@kschuman1152]

"Play it like it is beautiful slow music ..." that is quite interesting advise!

[@andresaparicio9285]

I am working on these etudes - thanks.

[@et8633]

10,000 hours of Hanon will get me here

[@gabrieletomasello]

Great Zlata ☺️👌🏻

[@energy3195]

Идеальная, великая пианистка планеты! Гордость всей страны!

[@YannMdv]

... I'm in love.

[@Highinsight7]

A MUST watch for anyone playing Chopin etudes...

[@robertparkerpiano]

My mind is blown. What a wonderfully astute talent. I wish I knew the enunciation of her name. I love her take on musicality when performing.

[@KalmanHorvat]

I love her.-) Thanks for video

[@republiccooper]

This was very good.

[@mnmleung]

I really like this session, thank you!

[@fastben2010]

best pianist on this etudes

[@vulkanosaure]

There's something mesmerizing to listen to that woman talking and play this F minor study

[@peterbrenton410]

My understanding is that a lot of what she was saying regarding phrasing is, what I would think of as thinking of a horizontal' (legato) rather than a 'vertical', more detached approach

[@fastben2010]

one of the best , very hight level

[@ronwalker4849]

ZLATA CHOCHIEVA HAS A TREMENDOUS WISDOM AND KNOWLEDEGE OF REALL MUSIC COMMUNICATION. ALMOST, NO MUSICIANS UNDERSTAND THE TRUTHS THAT SHE OUT LINES HERE. AND THE MUSICAL SCHOOLS NEVER TEACH THESE PORTO MENTO TECHNIQUES. THAT IS- SPEECH AS UNDERSTANDING-UNEQUALITY IN THE NATURE OF THE MUSICAL PHRASE. ESPECIALLY THE PIANISTS WHO PLAY BACH LIKE A TYPEWRITER.

[@mcrohof]

ZLATA: "That's one phrase, for one weight..." Very important to be aware of the pressure you apply from the shoulder, elbow, wrist, etc.

[@fastben2010]

found players who found deferents voices in this etudes. for examples Stanislav Bunin in the 5 op 10

[@Marco-Lo-Muscio]

Bravissima!

[@fastben2010]

not only technical but musically, flexibilité

[@QalinaCom]

Zlata - the Golden girl

[@FirstGentleman1]

Man, she is good.

[@fastben2010]

nice voice

[@MrInterestingthings]

No.7 sounds so smoothDont know how to do this way. No.8 is my specialty but I need to star over after hearing her . Magic! in op.25#2How did she do that from 2 to triplets. Her phrasing so real and felt . Real work has gone into this ! I cant believe the musicality and imagination in her g #minor thirds etude . Wow ! Music is so much bigger than playing notes and hands . Its like life .What is real , valuable and what is wrong diection. This was a revelation along with Hough's lessons ! She really has thought about this music.No.4 she knos what it should be but it didnt go right here. Her tempi are really fast noone does 10 that fast .Geese it sounds more like a musical idea now.Never heard it sound like this and her octave etude makes us understand Chopin's long page long slurs ! I always wonder how tiny pianist with small hands play Chopin she smart says its brain -

[@NoferTrunions]

Question at 29:42 - I think he was asking "How do I practice to have such technical speed that I can 'let it fly?'" I'm 64 and speed still eludes me.

[@oooodaxteroooo]

nr. 1: take your time. nr. 2: play slowly. nr. 3: break up pratice by using different rhythms and accents and techniques. speed comes with time and practice. play at a speed you can let it fly. itll become boring soon enough. one thing that doesnt work, is pushing for speed. ;) at least for me.

[@celsodimov.]

Great!

[@LazlosPlane]

Wow.

[@Sitbon08]

Great. But I wish someone had the foresight to give the audience a roving microphone.

[@wearewinning3151]

Long fingers, wish I had!

[@freespirit995]

Superb instruction- particularly on breathing and relaxing the wrists. How I would wish to have her flexibility and accuracy!

[@christopherczajasager9030]

Born Chopin player.......

[@energy3195]

Идеальная...

[@834Oleg]

Does anyone have a contact for her? I would like to invite her for coffee☕🤩

[@fastben2010]

1,14 at the beginning for Bunin

[@elishaba]

Le secret est la technique de l’école soviétique et travailler lentement la sonorité et le texte pour que ce soit parfait en un seul apprentissage. Et ça prend du temps.

[@mityai1983]

она здесь бацает лучше, чем на записи диска

[@YouTubeChannel-nf2nw]

6:50

[@rafaelquaresma_quaresmaraf2711]

♥️♥️♥️👏🏾

[@alanleoneldavid1787]

16:26

[@MiroslavTaranik]

Брилиант

[@NN-rn1oz]

Fast woman!

[@lyolevrich]

very very good enormous gifted musician.I’m not agree with op.25 n.6: too impressionistic,is not Debussy at all.

[@이정현-y4m]

한글자막 좀 부탁드려요~ 넘넘 좋은데ᆢ 알아 듣지못해서~ㅜㅜ

[@eastudio-K]

11:20

[@peterbrenton410]

at 2.16 she sighs and looks like she's thinking' my God i'm so good '

[@Radiatoron88]

If so, I'd have to agree with her! Sure would like to have hands that could "ripple through" the keys like that!

[@liltick102]

She’s like France Clidat good wtf

[@Jestunes]

I use the piano to accompany myself when I sing. Wow at 68 I could only dream of playing passages like she does. She is absolutely brilliant. But can she sing? lol

[@jakmere]

0:35 Zlata, I know this piece, inside and out - note for note - measure for measure. But I cannot play this way. What am I doing wrong?

[@lolguytiger45]

What is the name of this etude?

[@Bobowobo]

@@lolguytiger45 Chopin Op 25 no 2

[@lolguytiger45]

@@Bobowobo Thank you, I already figured that out by listening to her, by the way, SUPERB, album of Chopin's complete etudes. I cannot recommend it enough

[@LuisKolodin]

her favorite etude is the THIRDS! hahahahahahahahaha the most terrifying one!

[@j.vonhogen9650]

It is indeed a terrifying etude! What makes it very difficult in particular, is the fact that there are not just chromatic minor thirds in the piece, but also scales of thirds as well as major thirds. The problem with those parts with non-chromatic thirds and major thirds, is that the changing key in those parts makes it much harder (and often even impossible) to play the upper voice of the thirds legato.

[@LuisKolodin]

@@j.vonhogen9650 I wish I could play it.

[@87890-]

Slavics are the best composers💪

[@ПростоМзия]

Она осетинка )

[@fredericlinden]

One remark of her has made me jump!!! "It does not have to be exact (rhythmically)". What?! Have you read Chopin's letter/correspondance??? Have you read the Essay of one of his most famous and faithful student, and publisher, Mikuli??? One was in trouble in front of Chopin if the pulse was happy-go-lucky, if the rhythmical playing was sloppy or plain egocentric! Chopin was fully aware of the bar line. He certainly defied it but he knew it was there...

[@MishaSkripach]

She means you do not have to be like a metronome

[@subplantant]

You should read about the contretemps with Meyerbeer!

[@K43TOC]

28:05 - 28:42 and 37:42 she was not kidding. I have seen this sort of thing before. There are rare people who’s memory is so strong, that they can practice in their minds. It appears that Zlata is one of these people. ‘If you find the right key to open the secret, you don’t need to practice.’ The secret 32:15 is weight (you have to increase your spiritual mass/bio electromagnetic field density).

[@musikguru1]

She enjoys her ability. The problem is that not everybody has HER ability!!!

[@fastben2010]

Valentina at the end too

[@fastben2010]

Black keys by 9 pianists on KZbin

[@Cubanbearnyc]

Brilliant pianist, yet her teaching suggestions here are absolutely useless...., just like most piano teachers, they do not understand what they are trying to teach, they end up repeating themselves, and only find success through well developed students technically, who they coach musically and aesthetically...., which is valid, but not the way you conquer such monster technically demanding pieces like the Chopin etudes.....

[@sfd373]

I’m sure you’re right that the people she teaches already possess formidable technique, but speaking as a very mediocre amateur pianist, this video has actually been very helpful for me. I have tried and given up on these etudes before. But since this video I have been practicing 10/2 and 25/6 and every time I struggle, I can hear zlata’s voice saying ‘“don’t play it takatakata - it’s impossible” I’ve learned to concentrate on the phrasing and the flexibility, the inherent musical character, to stop worrying about getting them up to speed and to never play them like ‘czerny etudes’. The technical difficulties really do start to recede with judicious rubato and tenuto, giving tension time to breathe. Maybe the main thing is that now I actually enjoy practicing them, I get to the last bar and can’t wait to go back to the first. Like you, I used to think of them as technical mountains to be conquered and it’s just not a suitable (or helpful) way to approach them. One thing she doesn’t really mention is these pieces require very large reserves of patience for the less gifted among us. But I got the impression that even she struggled learning 10/2.

[@MishaSkripach]

She is addressing those people who understand the essence and the meaning of the practice for a musician- most people don't, therefore they cannot get what she means. Those "others" will simply never achieve technical excellence, whoever teaches them. She clearly explains how to approach technically difficult bits - but that desire for making music (as opposed to pressing notes) is something that most piano learners never have, so they will not have the energy or guide to follow her advice.

[@Marsmallos]

@@MishaSkripach Bullshit. I know plenty of people who play at university level or higher, who have really deep love for the music and desire to play beautifully, and who often do... but who have technical issues and struggle a lot, even injure themselves. "Just desiring to make music" doesn't work for them, they also need a clear, exact guidance on how to achieve the physical mastery over the instrument.

[@MishaSkripach]

@@Marsmallos I am not sure how to communicate with the person who starts conversation with other people by calling their opinions "bullshit". Are you sure you are ready for music? As regarding "many people that you know who play at the universtiy level" is not this level quite low, by professional standards? Many years ago, my daughter had a ballet exam - the accompanist was the honours graduate in music from one British well-regarded university... this lady was unbelievably bad - she could not manage to play a single chord correctly, sight reading evaded her, and she failed all the girls at their exam... She never realised how awful she was, she was full of self-confidence and generally full of herself. She must be one of those people who are full of technical problems... the answer lies in never bothering to work hard in the early years of training.

[@Marsmallos]

@@MishaSkripach I found it incredibly provocative of you to say that many of the tragic examples of people not living up to their musical potential due to technical issues that I know of lack a "desire to make music" and just are trying to press notes so I wanted to call you out on that. Because it is just not true (or bullshit if you want a harsher term). I do not know if university level is de facto low or not - it depends on the university. But a master's degree is what you go for when you want to study music at a high level as far as I am aware. And yet, many people at that level struggle. And the fault is not that they "didn't bother to work", or are "full of themselves", where did you get that from? The problem is that they weren't taught or haven't learned the necessary skills to play at a high level without hurting themselves. You can work hard on Hanon exercises or scales or Chopin etudes or Czerny or Beethoven sonatas all day if you want, if you weren't taught the proper playing habits you'll eventually hurt yourself and struggle with the more technically challenging things, such as the thirds etude.

[@bertrandheraud1405]

bon, elle n'a rien a dire!

[@itsjustnopinionok]

Great job. But you could use a cough drop or two.

[@peterbrenton410]

or a glass of water

[@EmptyVee00000]

It is in triplets!!

[@BurningSky9]

Of course it is in triplets! She simply advocates to think in big lines/ phrases when playing, not in small rhytmic units.. In this way, the music breathes and has a shape. Also, what's not to understand? She is more than clear- quite revelatory.

[@dj-ls7tp]

Chochieva? Isn't it a chechen family?

[@ibonlable1429]

No practise, blyat what a horseshit. For sure she practices like crazy, certainly for all these years that built up to her career. Obviously makes things a bit easier, recognisable, pieces are easier to learn. But anyone telling you, no practise, everything flows. Don't believe that. Richter even lied about it saying he only practices 2 hours a day. Later his wife said it was 10 hours a day.

[@conradgnad]

very good pianist but somehow really bad teacher, watch at 28:00 til 35:00. either she can't explain or she doesn't want to tell, which is crucial for being a teacher.

[@PieInTheSky9]

I agree, but in her defense she seems to be translating her words from her native language. She might just be having trouble explaining in English.

[@gobaby2263]

I think she doesn’t want to tell nothing at all. I found this piano channel that it is doing a wonderful job on explaining how to play the etudes. I think the channel is PianoSecrets but not sure.

[@Dave-xr3rj]

I agree with what she said though, this is how I always think

[@sorim1967]

I think you would make a really poor student. Like all top call pianists she does not practice, of course not. She considers her interpretations, as she said, "she works" she considers how to perform but that is all. For example, the vast majority, 99% of pianists need six months to master a Chopin etude, practicing every day. But the very top talented pianists (and there are a few thousand in the world at that standard, not just those on you tube) can sight read them with no problem. When you are at that level you don't practice any more than the rest of us practice reading a newspaper. As for what she said between 28-35 mins, she was responding to specific questions, all associated about what the difficulty is in the etude, and she was very, very clear what she meant. But obviously you must have reached a certain very high level of musical accomplishment to get what she says, she is not addressing low level amateurs.

[@sfd373]

I think when she says she doesn’t practice, she is being tongue-in-cheek but is actually emphasising her main point of the whole lecture which is not to view these pieces as technical difficulties to overcome. “How much do you practice” is a very basic question that doesn’t really apply to her approach, she probably doesn’t take too long to get her fingers around the majority of a piece, but she is not worrying about ‘conquering’ the technical demands, only to explore the music, to try out different approaches that are suggested by chopin’s writing and notation. If you have played 25/6, you know she is right, after a while of slow beautiful practice, the thirds mostly fall into place, especially when you don’t focus on them, the difficulties are in the phrasing and pedalling of the melody/harmony in the left hand, and some certain right hand passages (for example the first falling phrases). She acknowledges there are technically tricky moments, but also emphasises not to fight them, they’re often there for a reason, and usually contain useful clues which ease the difficulty, but only if you think musically. You miss the clues if you think technically.

[@muribmor]

One example of a great pianinst that unfortunately is a terrible teacher.

[@MishaSkripach]

What is so terrible about her?

[@misschocoholic82]

@@MishaSkripach I reckon. She is great in my opinion.

[@MishaSkripach]

@@misschocoholic82 I agree with you! She tells the most important things - but some people do not understand and think this is all about technique. But it is not.

[@EmptyVee00000]

Makes no sense.

[@annaroa202]

I am with the kid a 29:07 yawning. This is fun for the player but sucks for the listener. By the way the etudes are easy. Why don’t you play the suite Iberia?

[@ciararespect4296]

This is obviously set up and fake. She's learnt the etudes years ago as many of us have but now pretending she's never played it before and opening the book lol then looking around. It's obvious it's muscle memory. Also saying what other people have said before her as if it's her own idea lol BTW thirds etude was awful and muddied

[@w3sp]

I smell 3rd degree jealousy lolz 😁😁 Nowhere she says or even pretends to have never played them. She was there as a professional artist giving lectures/masterclasses and considering she released an album with all of Chopin Etudes just 2 years prior to this it's pretty obvious she'll be talking about the Etudes since her album has very good reviews.