I could not avoid the temptation to listen to your analysis of this elegiac prelude. The excessive sensitivity that distinguishes you in the approach to every detail, is really valuable for each of your listeners: It opens new cognitive horizons in the entire work of Chopin and confirms the messages that this music conveys us in spheres of absolute purity. Thank you for the wonderful and unique feeling of joy and completion, through this "crying cello" apocalypse ...

its fantastic to have an alalysis for every single prelude and etude. thanks so much!

I see this as the little brother to the etude in c# minor op 25. I also have my own image, though I do like your one better haha. I believe it was Chopin imagining the end of his life on his death bed, in a cold and dark room, quietly wheezing his last few breaths as he grows weaker and weaker. The pulse symbolises his heart beat, which at the end slowly dies, indicating the end of his life. I believe he asked for this to be played at his funeral, therefore I think that it has a strong association with death. Beautiful playing by the way!

I love your interpretation. I was told the left hand melody was Chopin calling for George Sand during a rainstorm after last seeing her and her son near a building which had caught on fire. The right hand accompaniment are the raindrops he hears between his shouts for her. But, I love your visualization of someone trying to sit up. I will try my best to play it with more expression as you do. Thank you so much for your excellent videos.

SO WONDERFUL AS ALWAYS!!!!! Thank you for my favourite Chopin's Prelude known as "Dźwięk Dzwonów" in an excellent rendition, (I play this piece, although sometimes this sad masterpiece depresses me) and for your analysis/tutorial, your great video will be helpful for many pianists, again my best regards, have a nice evening. Joanna

Thank you so much. It's grest to see us musicians sharing the same passion towards a piece of music. Tears came to my eyes listening to you.

Absolutely phantastic how you bring this (only at the first glance) technically simple piece to life. Truely inspiring.

I learned this piece many years ago, and my understanding of the piece has always been the same although my interpretation has probably improved. My favourite instruments are the piano and the cello. This piece has always created an image in my mind of a cello playing the melody and the piano accompanying it. I like your analogy of trying to stand/climb but not being able to. Thanks for your videos!

I was a little busy last night so I’m catching up with some coffee this morning!Such a deep and meaningful prelude, you can feel it tugging on your heart strings. I like the sound of B minor, atmospheric and moody. Thank you very much once again for your explanations, it brings even more life to each piece you play. Until next time!

Thank you very much for the lecture and wonderful imagination of the music. It is very inspiring and your music is very emotional😢. Thank you so much!

one of my favorites thank you for this wonderful analysis

Excellent ! Thank you ! The best rendition of this beautiful piece. Bravo from Miami Florida !,

Belíssima interpretação amei muito

Thank you for creating such awareness.

Fantastic! I love your idea. Thank’s🇪🇸🎹

I think this piece has something more than just sadness. It’s elegiac, as another listener has commented. We’re sad that someone we loved had died, but we paid our respects by recalling his heroic struggle.

❤️loved it as always

This is is one of the preludes I'll be playing in my programme tomorrow (along with Beethoven's sonata Pathetique)! Thanks for sharing your lecture and performance of this beautiful piece

Darling pianista como eu adorei a tradução da sua análise deste belíssimo prelúdio de Chopp chopin, me impossibilitou entender.muito obrigada

The problem I have with the repetitive note signifying time is the change in dynamic. Time is universal and indifferent to the world around it. That is how Ravel treats it in La Gibet. It also disappears in several measures toward the end, which would be completely counter-intuitive.

Although I do not believe in performing the preludes as a complete work, I do not necessarily think that is inconsistent with the idea of trying to capture a distinct shade of suffering in the various minor key preludes. I really like your metaphor of trying and failing to stand, but what I find interesting is that the dynamic notation in the left hand is so explicit within the attempts, but as far as I can tell not at all between the attempts.