Wow! Your suspense, curiosity and passion makes this a remarkable analysis!

very interesting example of how dynamics can become a theme. 🌿 🎼 🌻

Wonderful analysis. I learned so much and I definitely hear the piece differently after this. Thank you.

This looks like another interesting lecture! I’m looking forward to this.

Dark, brooding and mysterious, like the fourth movement (presto) of the second piano sonata.

SO WONDERFUL AS ALWAYS!!!!! Thank you for this great Chopin's Prelude known as "Strach" in an excellent rendition and for your analysis/tutorial, as every day my best regards, have a nice weekend. Joanna

Very informative analysis again! Thanks for demonstrating the two voices in lower and upper registers. Without this video, I would not even get close to understanding this piece

Hi! Really interesting lecture! When you were talking about the tempo "Allegro " and the "pesante" marking I inmediately remembered something I read not long ago. It was an edition of the Preludes supervised by Alfredo Casella (composer, pianist and musicologist) that I found on IMSLP. About this prelude he writes: This is a really interesting fact and is showing to us a new way of thinking about this prelude. I wanted to share this with you! I'm enjoying this series. Thank you!

Another miracle achieved by both, Chopin and you Mo Niemczuk !!! I am really dazzled by your deep devotion to music and your analytical and creative aspect! Through "soprano" voices of the triplets, haunted flamenco guitar sounds, especially in the two last bars, before the final e-flat, are more than evident in this masterpiece !!! Infinite thanks !!!

Thanks

The first few bars remind me of Gluck's "Dance of the Furies," which also suggests the character of the piece.

Wonderful! Amazing video! I would play like this: Short (Upper or lower voice), Short (The opposite voice) and Long (The two voices quarreling and fighting). It makes a lot of sense to me and I like it better than short = lower voice and long = upper voice. Great job! You're a machine, don't understand how can you work this hard! Keep up! ☺️

Watched this in music class, and it really opened my eyes to the piece. Really informative video and its so nice seeing someone be so passionate about music! Keep going my guy

👏👏👏👏🙏🙏

The other thing to take into account about this short prelude is that Chopin very much admires Bach's music. This is Chopin taking on Bach's technique and style, with similar interesting progressions and chromatic notes.

Hey greg how are you doing today😊, thank for this big work for explaining all Chopin works, I love Chopin ❤ so much and he is the reason why I started playing piano 🎹. So I’m a self thought but I’m trying to imagine that Chopin is my teacher, that’s why I started learning his Preludes as an Etudes to unlock a new emotion and technique for my piano playing, I learned so far 8 Preludes no2,4,6,7,9,20,13,15 and I always watch your videos about each prelude, and O my god I love your piano playing ❤❤ I always cry😢 listening to it maybe because you’re polish 🇵🇱and you understand Chopin more,that’s why I try always to play it more like you. So thank you so much for everything you did, 🙏🏼 you make me understand my favorite person Chopin more and more. My question is do you think after learning the 8 preludes I mentioned before am I able to play this prelude no 14? Or should I play some easy mazurkas first?

hi Grzegorz, where can I find the diary where she talked about what you mentioned ?

Być może to jakiś przejaw mrocznych wizji Chopina, lecz bardziej przemawia do mnie, że w tym cyklu testował różne sposoby wyrazu muzycznego oraz techniki gry. Tu mamy "ciemne" unisono, coś co wykorzystał raz w finale drugiej Sonaty. Śodek techniczny, którego nie nadużywał, ale pokazał światu, że ma taki w repertuarze.

But in Chopin's era of music the hairpins are not dynamics, they are stretching time. There are many instances when he marks diminuendo or crescendo and the hairpin at the same time, and why would he repeat himself? Not to mention the other sources like Mendelson and Brahms who specifically explain that these markings are indications of time interpretation and not volume.