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The Moscow Conservatoire has posted a recording of a complete set of Chopin etudes by a Chopin's Competition laureate Lukas Geniusas.

I find them very lyrical and beautiful with the tempi on the slower side. I must say I really enjoyed this performance. Especially after being on a recital consisting of complete etudes few days ago played by Louis Lortie. As I like his performances and recordings, this particular recital didn't appeal to me. Geniusas performance was really refreshing.

Enjoy!

Thank you for the video, Mati! I am just listening to his performance and really enjoying it so far.

I've never heard op.25/2 played like that before.

Thanks a lot for posting.


-Jason

There's something refreshing about knowing you can get away with playing 25/11 at that tempo, though I realize some slack is cut for anyone who can perform/record all the etudes (I'm sure I've heard it that slow before but I think Richter and Lisitsa stuck in my head for tempo). That's about how fast I can play it now if I want it to be clean, and same for 25/12 which I am also working on (for that I have Sokolov's tempo stuck in my head, which is just crazy). He actually plays it a little slower than I can now but I can only imagine how worn out he was after playing all of them. I skipped around a lot mostly listening to the ones I've played. I think 10/2 mostly sounded nice and musical because he used rubato in the trickiest bits. But he did it more gracefully than Ashkenazy does. Huge props to anyone who can play all 24 (or all 27). Not many people who can claim that.

Louis Lortie played all 27 at once on Thursday, and then had three encores - in terms of stamina and endurance, I was completely blown away. Also, his tempi were crazy till the end. Few years ago, when I started playing the piano, I wouldn't thought I will ever hear a complete set of etudes in one recital - yet it becomes more and more popular to program them. In the last two seasons in our concert hall at least three pianists attempted that stunt.


M.

True, it is becoming more popular...and most of them sacrifice a great deal in tempo.

I listened to 10#8 through 10#11. Some of the most beautiful playing I have heard. Poetic. I love it. Thanks for sharing. I will listen to the whole thing when I have more time.

Why do you consider playing the two sets of Etudes a "stunt"?

Regards,

I hate to speak for people, but I assumed it was something along the lines of 'something few people are brave enough to attempt'.

This is certainly among the finest performances of these Etudes that I have heard; they are very much to my taste. Given that this is a live recital with, presumably, no re-takes and/or editing, the results are even that much more compelling.

Only once, in Paris, did I hear both sets performed in one recital, but it was many decades ago, and I don't remember who the (female) pianist was. At the time, it seemed to me that it was a wonderful performance, too.

Regards,

I consider them extremely demanding in terms of stamina to play them in a row without sacrificing tempi, interpretation or freshness. In most recitals I have attended where pianists attempted to play them all of them at once it was a downhill slope. Towards the end it was obvious they were really tired and no longer had complete command over the instrument at required speed. They often slowed down to maintain, but sacrificing interpretative integrity. It takes more than just slowing down to play these etudes slower. That's why I consider it a stunt. I think Geniusas managed brilliantly to play them a little slower, but still with great deal of colour, nuances and fresh ideas holding the performance together.

All these said, I am by no means able to play these Etudes, so my points may be invalid. I can't comment as a pianist who tried to do that.


M.

I only listened to the first three. Didn't like the second and third much. The second seemed too cute with extreme rubato while the third seemed the opposite with quite metronomic playing. Then in the 6ths Etude he for no apparent reason plays the last two chords much softer than the two chords that come before them.

He also played the (almost) complete Op. 25 in semi-finals of Chopin competition last year: http://konkurs.chopin.pl/en/edition/xvi/video/14_Lukas_Geniusas/stage/3

I don't think Op. 10 was meant by Chopin to be played as a set, as opening with no.1 and 2 is very difficult even with some warmup. And according to readings, the etudes were written individually over a few years.

However I think Op. 25 was meant to be played as a set. The opening two etudes are a lot easier and serve as good warm up for the fingers. The arrangement of putting no.7 and 9 in between 6,8,10 (the interval etudes) gives good contrast and relaxes the hands.

I don't think either set was 'meant' to be played as a set, but both of them have proper finales. The end of Op 25 is more dramatic because of 10-12, though. I heard Chopin played all 12 of Op 25 in one sitting before, but there are distressingly few comments on his playing of them that I can find. It seems he usually played the first two, which were most suited to his increasing lack of strength.

The reason he is so good is because he's not just ONE genius but as his name indicates several Geniusas.

I cant even lift my arm for 1 week if i perform those etudes in 1 concert. Extreme hard work behind this bravo!!!

As incredible a technical achievement as this is, I don't think it's unusual for a concert artist to be able to play all of op.10 and op.25 in one sitting.

For me what sets this performance apart is the poetic lyricism he brings to every single etude. In the last few days I've returned to this video again and again. I thought I knew these pieces (as a listener), but he has really opened them up for me.

-J

I am going to download the video for future reference and future enjoyment...

It is certainly a feat to be able to play all etudes in ones sitting and so well (changing mood and bringing out the best of every etude).