I didn't mean to sound condescending!....
Don't worry, I don't think you did at all. Some people might think you did, but (and I hope this
won't be condescending!) to me, it sounded partially ignorant. It seems as though the speaker has a terrific finger technique but (IMO) must not be that aware of other aspects of difficulty. Of course, I realize that my own view could simply be a result of my not having a great finger technique myself.
I am just not too familiar with the preludes.....
That could explain it.
.....but of the brief skimming over of them that I did, none of them stuck out as being killers. I'm sure I'd have trouble with a lot of them. Could you give me some examples of some of the harder ones? I'm just curious
I was afraid you'd ask that.
Not because it's hard to answer but because I'll have to do a little 'work.'
I owe Slatter some work on another thread. I hope he'll forgive me for doing this first. (It's easier.)
All we need to do is look at the first few preludes.
The first one in my edition is the one for LH alone. If you think that's not extremely hard, you are mistaken. There are issues of voicing and fluency that easily separate players of differing degrees of capability, and only the very most skilled and sensitive pianists can do a good performance.
The next one, Op. 11/1, is very hard. The spreads and stretches make it hard just to get the notes (for most people), plus the shaping and voicing are very complex.
It's an advanced piece.
11/3 is very very
11/6, with the octaves, is very hard, with the leaps plus the hands getting in the way of each other.
11/7: If you don't think this is extremely hard, I give up.
The prior ones, I can see that you could argue, although I think it would be a stretch. But this one......I have no idea how anyone could doubt that it is extremely hard.
I think I can stop already.
And I haven't even gotten past a few very early preludes.