Behold, Archie Chen's superhuman pianistic feats as he tackles Leopold Godowsky's gravity-defying reimaginings of the Chopin Etudes. Archie doesn't merely perform the Godowsky versions; he ups the ante by kicking off with the original Chopin version, leaving your jaw on the floor! The Studies unveil a pianist whose technical prowess is so mind-boggling that one could mistake Chopin's originals for child's play. Don't miss Archie's dazzling interpretation of Frederic Chopin's Etude in C major, Op. 10 No. 1, followed by Leopold Godowsky's Study No. 1 in C major.

Godowsky, a pianistic wizard of his time, shares his magical secrets with ingenious fingerings and enchantingly expressive pedaling. At first glance, some Studies, particularly those for the left hand, seem like Herculean tasks only fit for a Greek god. But fear not! Godowsky, the crafty problem-solver, has provided solutions that mere mortals can attempt. His metronome marks, often seemingly beyond human capabilities, taunt us with lofty aspirations of unattainable virtuosity, invoking the image of a pianist as a finely-tuned, unstoppable machine.

Picture this: you're a budding pianist encountering Carl Czerny's studies, which, let's be honest, are about as exciting as watching paint dry. Yet, they inspired some of the most extraordinary études of the 19th century, like those by Franz Liszt and our beloved Frederick Chopin. These works strike the perfect balance of technique, virtuosity, and refined expressiveness, much like a tightrope walker gracefully balancing between two skyscrapers.

The interwoven relationships between these composers are akin to a love triangle of musical dedications, with Liszt dedicating his 'Transcendental' Études to Czerny, Chopin dedicating his Opus 10 to Liszt, and Opus 25 to Comtesse Marie d'Agoult, Liszt's mistress. While Liszt's Études shattered records for virtuosity, his revisions often tamed the beasts, removing leaps and stretches that would make even an octopus sweat.

Chopin, in contrast, left his Études untouched after publication. Enter the annotated editions: a treasure trove of posthumous wisdom from Chopin's disciples and top interpreters. These editions offer a backstage pass to the artistry of the masters, from Ignaz Friedman to Alfred Cortot, whose notes could rival the length of a Tolstoy novel.

Take, for instance, Chopin's Étude Op. 10, No. 1 in C major, nicknamed the "Waterfall" étude. This thrilling solo piece challenges the right hand to stretch its fingers like a superhero wielding superpowers. The enchanting cascade of notes conjures images of Piranesi's dizzying staircases. Even Vladimir Horowitz, the legendary pianist, wouldn't dare perform this étude in public, dubbing it the most challenging of all.

Godowsky's Studies on Chopin's Études, a staggering set of 53 arrangements, are the Mount Everest of piano challenges. As critic Harold C. Schonberg puts it, they're "the most impossibly difficult things ever written for the piano." With several studies featuring right-hand parts shifted to the left hand, and others solely for the left hand, these Herculean tasks are not for the faint-hearted.

Join Archie Chen on this extraordinary adventure as he conquers Godowsky's Everest, scaling the heights of pianistic technique and musical artistry. Witness the impossible become possible!

Live from the Hugh Lane Gallery on August 4th, 2013 as part of the concert series of the Dublin International Piano Festival & Summer Academy. Please comment and share.

My SoundCloud Channel: https://soundcloud.com/archie-chen
Official Website: http://www.archiechen.com
Youtube DIPF https://www.youtube.com/c/PianofestivalIe
Youtube Archie https://www.youtube.com/c/ArchieChenPianist
Festival Website: http://www.pianofestival.ie
Teaching Website: http://www.pianoacademy.ie

Piano: Hamburg Steinway B
Piano Technician: Martin Walsh
Recording Engineer: Joey McDonald
Piano provided by Pianos Plus

Frédéric Chopin Etude in C major, op. 10 no. 1 plus Leopold Godowsky Study no. 1 in C major

Ladies and gentlemen, boys and girls, pianophiles, and adventure seekers alike, prepare to embark on an auditory journey like no other. Today, the great pianist Archie Chen will perform Leopold Godowsky's mesmerizing Study no. 4 in A minor "Ignis Fatuus" – a composition so delightfully treacherous it will leave you questioning the very limits of human dexterity.

From the mind of Godowsky, the mad scientist of piano, comes a set of 53 arrangements that would make even Chopin's most nimble fingers tremble in fear. Schonberg once quipped that they are "the most impossibly difficult things ever written for the piano," and we dare say he wasn't far off the mark!

But what's all this about Ignis Fatuus, you ask? A term that conjures images of spectral lights and ghostly marshes, it refers to the deceptive luminous phenomena that have haunted folklore for centuries. These mischievous lights, known as Will o' the Wisps or Jack o' Lanterns, have been said to lead travelers astray, luring them to their untimely doom. Whether the spirits of the drowned or the souls of unbaptized infants, these eerie orbs have captured the imagination and terror of many a night wanderer.

And so, the stage is set for Archie Chen's spellbinding rendition of "Ignis Fatuus." Listen in awe as he transfers Chopin's already devilish right-hand etude into the left hand – a feat of pianistic prestidigitation that would leave even Houdini gasping for breath. As the haunting melody flits and flickers like the enigmatic lights it emulates, you may find yourself lost in its bewitching allure.

But fear not, dear listener! For Archie Chen is your guide through this labyrinth of notes, and he shall lead you safely back from the brink of pianistic pandemonium. So sit back, relax, and let the otherworldly beauty of Godowsky's Study no. 4 in A minor "Ignis Fatuus" wash over you like a mysterious, flickering flame.

And remember, don't follow the light... unless, of course, it's Archie Chen's dazzling fingers dancing across the keyboard!

My SoundCloud Channel: @archie-chen
Official Website: www.archiechen.com
Youtube DIPF www.youtube.com/c/PianofestivalIe
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Festival Website: www.pianofestival.ie
Teaching Website: www.pianoacademy.ie

Unedited live recording
Piano: Hamburg Steinway B
Piano Technician: Martin Walsh
Recording Engineer: Joey McDonald
Piano provided by Pianos Plus

Frédéric Chopin Etude in A minor op. 10 no. 2+Leopold Godowsky Study no. 4 in A minor "Ignis Fatuus"

Step right up for Chopin's Revolutionary Etude, where piano playing transforms into a thrilling and daring spectacle! Dive into this masterpiece that pushes the boundaries of piano technique while tickling your eardrums with a devilish twist.

Chopin was like the mad scientist of Etudes, experimenting with split chords, thirds and octaves, counter-motifs, and arpeggiated chord constructions. The result? An innovative musical landscape that would make even Beethoven raise an eyebrow.

Etude No. 12 is Chopin's pièce de résistance, a fiery expression of passion that storms the stage with hurricane-like intensity. This powerhouse piece showcases heroic melodies, accompanied by stormy waves of left-hand passages – it's like Beethoven's symphonies cranked up to eleven!

Chopin's genius lies in his ability to turn melody into a living force. The Revolutionary Etude is a testament to that, as tension and relaxation weave together to form a harmonious whole. And thanks to Chopin's mastery of counterpoint, the piece achieves an unparalleled level of expression.

Even the likes of Liszt and Schumann had high praise for Chopin. Delacroix called him the "purest and best-tasting artist" he'd ever encountered. Liszt compared his music to an Aeolian harp that could magically blend all musical scales. And Schumann said Chopin's playing was like a "deep fundamental tone and a soft continuously-singing upper voice."

The Revolutionary Etude is a workout for the left hand, demanding precision, neatness, and respect for Chopin's writing. Accents every four semiquavers and a rapid tempo make this Etude an exhilarating challenge for any pianist.

So, buckle up for a rollercoaster ride of technical mastery and unbridled passion with Chopin's Revolutionary Etude – it's a musical adventure that'll leave you breathless! 🎹🔥🌪️

Live from the Hugh Lane Gallery on August 4th, 2013 as part of the concert series of the Dublin International Piano Festival & Summer Academy. Please comment and share.

My SoundCloud Channel: https://soundcloud.com/archie-chen
Official Website: http://www.archiechen.com
Youtube DIPF https://www.youtube.com/c/PianofestivalIe
Youtube Archie https://www.youtube.com/c/ArchieChenPianist
Festival Website: http://www.pianofestival.ie
Teaching Website: http://www.pianoacademy.ie

Piano: Hamburg Steinway B
Piano Technician: Martin Walsh
Recording Engineer: Joey McDonald
Piano provided by Pianos Plus

Frédéric Chopin Etude op. 10 no. 12 "Revolutionary"

Get ready for Chopin's 3rd Ballade, Op. 47, a sunny and optimistic tale with a side of dance and mischief. It's like a feel-good movie compared to the darker, stormier siblings in the Ballade family.

Featuring two main themes that play "opposites attract," our first melody soars sky-high, before echoing left-hand responses. Then, a burst of celebratory arpeggios adds some fireworks. The second theme? A flirty dance number, dipping into minor keys but never fully embracing tragedy.

Watch as the dancelike theme gets all dressed up, while the first remains elegantly unchanging. And let's not forget the flamboyant, keyboard-spanning joyride in between.

Written in 1841, the 3rd Ballade proves that Chopin's final decade was nothing short of musical genius. We might never know the exact story behind this lyrical piece, but its narrative roots and natural flow make it the most romantic of the set.

So, sit back and enjoy this delightful Chopin adventure, where epic narration meets warm-hearted charm, and let your imagination fill in the blanks! 🎹📖💃🌞

Live from the National Concert Hall in Dublin, Ireland, 11th October, 2010. Please comment and share!

Unedited
My SoundCloud Channel: https://soundcloud.com/archie-chen
Official Website: http://www.archiechen.com
Youtube DIPF https://www.youtube.com/c/PianofestivalIe
Youtube Archie https://www.youtube.com/c/ArchieChenPianist
Festival Website: http://www.pianofestival.ie
Teaching Website: http://www.pianoacademy.ie

Piano: Hamburg Steinway D
Piano Technician: Paul Wade
Recording Engineer: Darby Carroll

Frédéric Chopin Ballade no. 3 In A Flat Major, op. 47

This is a studio recording from 2012 for the BBC film 'Loving Miss Hatto'. A biopic penned by the British comedian Victoria Wood about pianist Joyce Hatto.

The character piece is like the art song's fun-loving cousin who always shows up to the party with a bottle of emotional perfume. It's perfect for those intimate gatherings or solo rendezvous with your piano. Thanks to the piano's rise to fame in the 1800s, character pieces were popping up everywhere, and composers were flaunting their creations at the hottest recital events of the time. Basically, character pieces were the 19th century's version of a hot new single. If you thought Franz Liszt's music was boring, think again! This guy was all about giving his character pieces creative and whimsical titles, like "Sposalizio" and "Vallée d'Obermann". But don't worry, he didn't forget about those of us who like our music titles to be a little more straightforward - he also composed plenty of works with no-nonsense names like "Album Leaves" and "Klavierstücke". With his "Consolations" (a.k.a. "Six Poetic Thoughts"), Liszt took a page out of Chopin's book and delved into the world of nocturnes. And let me tell you, the third Consolation in D-flat major is pure Chopin - even the key is pianist-friendly, unlike those pesky "easy" keys like C major. Looks like Liszt knew a thing or two about pleasing his audience! If you're a Chopin fan, you're gonna love Liszt's "Consolation No. 3"! I mean, talk about a tribute - this piece is basically a carbon copy of Chopin's Opus 27, no. 1. And while it might not have the same flashy piano solos that Liszt is known for, it more than makes up for it with its dreamy, slow-moving melodies. Plus, it's in the same key as Chopin's original, so you know it's gotta be good.

Despite the unusual title, the Consolations were inspired by both poetry and religious contemplation, just like Harmonies Poétiques et Religieuses. Some say the title comes from an 1830 poetry collection by Sainte-Beuve, while others think it's based on a poem by Lamartine called A Tear (or Consolation). Either way, it seems like Liszt was in a pretty contemplative mood when he wrote these pieces. But don't worry, Liszt didn't completely forget his roots - he snuck in a little Hungarian folk song as the primary theme, which he later used in his "Hungarian Rhapsody No. 1". So even though this piece might not match the wild, hair-flailing image we have of Liszt, it's still got a little bit of that old-school flavor. Liszt's "Consolation No. 3" wasn't just a musical masterpiece - it was also a major turning point in the composer's life. And let me tell you, Liszt's early life was a doozy - it was basically one big, crazy party. But don't take my word for it, just ask his first mistress (and mother of his three children) Marie d'Agoult, who wrote all about it under the pen name Daniel Stern. And if you're feeling really adventurous, you can even watch the 1975 film "Lisztomania" for all the juicy details. Talk about living the dream! Liszt's life was like something out of a Hollywood movie - seriously, this guy was breaking class barriers and performing like a superstar. But as he got older, he decided to trade in the limelight for a little bit of privacy. He started conducting orchestras and composing more, and even started teaching aspiring pianists from around the world. I guess you could say he was the original piano man!

My SoundCloud Channel: https://soundcloud.com/archie-chen
Official Website: http://www.archiechen.com
Youtube DIPF https://www.youtube.com/c/PianofestivalIe
Youtube Archie https://www.youtube.com/c/ArchieChenPianist
Festival Website: http://www.pianofestival.ie
Teaching Website: http://www.pianoacademy.ie

Piano: Yamaha C7
Piano Technician: Martin Walsh
Recorded at Cauldron Studios, Dublin
Recording Engineers: Ciarán Byrne & Michael Manning
Please share and comment.

An NFT of this track will be available from the artist soon!

Franz Liszt Consolation no. 3 in D flat Major, S. 172

Chopin's Fantasie-Impromptu (1834) may be the musical equivalent of a posthumous tell-all book, but with more class, of course. Published after his death in 1855, this piece had Chopin channeling his inner Beethoven, and musicologist Ernst Oster was convinced that Chopin "got" Beethoven like no one else.

Now, this piece is like a rollercoaster ride through the classical world: sextuplets, semiquavers, and polyrhythms? Oh my! It's no wonder it's used as a test piece! We go from C# minor chaos to the smooth, lyrical shores of Db major, with a Bellini-inspired melody that's as graceful as a swan on a lake.

But wait! The pandemonium returns in 'Presto' like a caffeinated squirrel, only to wind down and end on a Picardy third, leaving you wondering, "Was that a Fantasie or an Impromptu?"

Could this whirlwind of a piece be the result of Chopin showing off at a swanky salon for Baroness Frances Sarah d'Este? We'll never know for sure, but one thing is certain: Fantasie-Impromptu has become a timeless classic, and if you listen closely, you might just hear the echoes of Chopin chasing rainbows.

This track is from the album F. Chopin: 4 Impromptus - F. Chopin: Piano Sonata No 3 in B Minor, Op. 58 - F. Chopin: Ballade No. 3 in a Flat Major, Op. 47 - F. Chopin: Scherzo No 2 in B-Flat Minor, Op. 31 and is available for purchase on CD Baby here: http://www.cdbaby.com/cd/archiechen

My SoundCloud Channel: https://soundcloud.com/archie-chen
Official Website: http://www.archiechen.com
Youtube DIPF https://www.youtube.com/c/PianofestivalIe
Youtube Archie https://www.youtube.com/c/ArchieChenPianist
Festival Website: http://www.pianofestival.ie
Teaching Website: http://www.pianoacademy.ie

Piano: Fazioli F278
Recording Engineer: Jeremy Krug
Piano Technician: Dave Severence
Recorded at Washington State University School of Music

Frédéric Chopin "Fantasie" Impromptu no. 4 in C Sharp Minor, op. 66

Ladies and gentlemen, fasten your seatbelts as we embark on a thrilling journey into the musical world of Charles-Valentin Alkan. In the capable hands of our piano virtuoso Archie Chen, we will explore the enigmatic and captivating world of this once-renowned composer. It was only last year, on November 30th, when the world celebrated Alkan's 200th birthday. Though he may have been somewhat forgotten, we are here to shine a light on his exceptional talent.

Charles-Valentin Alkan was a contemporary, friend, and colleague of the musical greats such as Chopin and Liszt. Despite his early successes, Alkan eventually faded into obscurity, retreating from public life due to a series of personal events. He was known to be an introverted character, with a penchant for both the peculiar and the dramatic. Alkan's untimely demise in 1888 is said to have been caused by a falling bookcase – a tale that, if true, would indeed be one of the most improbable in musical history.

But let us return to the music. Alkan's compositions are notorious for their technical demands and complexity, making them accessible only to the most talented virtuosos. Enter Archie Chen, our fearless pianist, who will masterfully navigate the intricate depths of Alkan's "Le festin d'Ésope" Etude op. 39, no. 12. This lively and engaging piece is a set of 25 variations on an original theme, providing ample opportunity for Archie to showcase his dazzling technical prowess.

The theme of "Le festin d'Ésope" bears a striking resemblance to a Hasidic melody, yet it also contains traces of more familiar tunes. There are those who believe that each variation represents an animal from an Aesop fable, while others argue that the title refers to a feast recounted in an apocryphal life of Aesop. Whichever interpretation you prefer, there is no doubt that the piece is brimming with wit, humor, and virtuosity.

Archie Chen's performance of this intricate work will not only allow us to appreciate Alkan's genius but also demonstrate the pianist's own remarkable talent. As you listen to Archie's interpretation, you will find yourself immersed in a musical narrative that tells of the enchanting, mysterious, and at times mischievous world of Charles-Valentin Alkan.

So sit back, relax, and allow Archie Chen to guide you on this captivating exploration of Alkan's "Le festin d'Ésope" Etude op. 39, no. 12. With his exceptional virtuosity and a healthy dose of humor, Archie will breathe new life into the music of this enigmatic composer, proving once and for all that the legacy of Charles-Valentin Alkan is alive and well.

Live from the Hugh Lane Gallery on August 4th, 2013 as part of the concert series of the Dublin International Piano Festival & Summer Academy. Please comment and share.

My SoundCloud Channel: https://soundcloud.com/archie-chen
Official Website: http://www.archiechen.com
Youtube DIPF https://www.youtube.com/c/PianofestivalIe
Youtube Archie https://www.youtube.com/c/ArchieChenPianist
Festival Website: http://www.pianofestival.ie
Teaching Website: http://www.pianoacademy.ie

Piano: Hamburg Steinway B
Piano Technician: Martin Walsh
Recording Engineer: Joey McDonald
Piano provided by Pianos Plus

Charles-Valentin Alkan "Le festin d'Ésope" Etude op. 39, no. 12

Live from the National Concert Hall in Dublin, Ireland, 11th October, 2010. Please comment and share!

My SoundCloud Channel: https://soundcloud.com/archie-chen
Official Website: http://www.archiechen.com
Youtube DIPF https://www.youtube.com/c/PianofestivalIe
Youtube Archie https://www.youtube.com/c/ArchieChenPianist
Festival Website: http://www.pianofestival.ie
Teaching Website: http://www.pianoacademy.ie

Piano: Hamburg Steinway D
Piano Technician: Paul Wade
Recording Engineer: Darby Carroll

Frédéric Chopin Impromptu no. 3 in G flat major, op. 51

Franz Liszt must have really been blown away by the cities of Venice and Naples on his travels with Marie d'Agoult, because he ended up composing four pieces named after them: Venezia e Napoli. But apparently, the original four pieces weren't good enough for old Franz, so he went back and revised them until only the last two were left: the Andante placido (aka Gondoliera) and the Tarantelles Napolitaines (aka just plain ol' Tarantella). Then he stuck a sad song called Canzone in between them and voila! The triptych known as Venezia e Napoli was born. It was published as a supplement to Deuxième Année in 1861, so if you want to check it out, you better hit up this recording!

Liszt must have been feeling pretty darn romantic when he composed Gondoliera, because it's based on a love song by Giovanni Battista Peruchini called "La biondina in gondoletta." But unlike the original version, Liszt's revision starts off with a fancy introduction in the key of F-sharp minor. The music sounds all calm and serene, like a peaceful Venetian canal (or at least what I imagine one would sound like). And then, once it hits that F-sharp major chord, it's like BAM! The melody comes in and it's all lovey-dovey and stuff. And let me tell you, it's so sweet and soft, it'll make your teeth hurt. But don't worry, there's some fancy flourishes in there to keep things interesting.

The Canzone that comes after Gondoliera (or "Gondolier's Song") is actually part of a larger piece, and it leads directly into the Tarantella without missing a beat. It's based on a song called "Nessun maggior dolore" from Rossini's opera Otello, which is weird because the opera is set in Venice but it premiered in Naples. Anyway, Liszt messed around with the melody and rhythm a bit, and he also changed the key from G minor to E-flat minor, which makes it sound all dark and moody. It starts off with some creepy tremolo, and then the melody comes in and it's all woe is me. But don't worry, it's not all doom and gloom, because there's some fancy piano stuff in there to keep things interesting. And at the end, the music gets all happy and major-key-y, so it's not a total downer.

The Tarantella is like a firework show on piano. It's based on some themes by a French composer named Guillaume-Louis Cottrau, who lived and worked in Naples. It starts off with a Presto tempo, and the introduction leads you from the E-flat key of the Canzone to the G minor key of the first theme. And let me tell you, this thing is full of energy! The music shifts between different meters, so it's like a never-ending party. Then the second theme comes in, and it's like BAM! Fortissimo! And then the music goes to the relative major key, but it doesn't stay there long because it sidesteps into D-flat major with a funny little passage in contrary motion. And then it's back to G minor, and the first theme returns, and it's like a three-part design or something. And then the music closes in B-flat major, and there's a pause, and then there's a new theme in E-flat major, and it's all lyrical and stuff. And then there's some fancy flourishes and variations, and then it goes to E major, and then to G major, and then there's a coda and it's like WHAM! Prestissimo! And the music is rushing towards the end, and it's all virtuosic and impressive.

I. Gondoliera
II. Canzone
III. Tarantella

Recorded live from Dublin City Gallery - The Hugh Lane on July 27th, 2014 as part of the concert series of the Dublin International Piano Festival & Summer Academy.

My SoundCloud Channel: https://soundcloud.com/archie-chen
Official Website: http://www.archiechen.com
Youtube DIPF https://www.youtube.com/c/PianofestivalIe
Youtube Archie https://www.youtube.com/c/ArchieChenPianist
Festival Website: http://www.pianofestival.ie
Teaching Website: http://www.pianoacademy.ie

Piano: Bluthner Model 1
Piano Technician: Martin Walsh
Recording Engineer: Darby Carroll
Piano provided by Bluthner UK

Franz Liszt Venezia e Napoli, s. 159

Ginastera’s Danza del viejo boyero is not just a cranky old gaucho stomping across the Pampas—it’s quantum mechanics in a poncho.

From a purely musical lens, the left hand bangs out jagged, percussive rhythms like boots hitting hard-packed earth, while the right hand teases out melodies that feel both playful and a little unhinged. But step into the quantum field, and suddenly this is no ordinary rustic dance—it’s a particle-wave paradox in disguise. The “old herdsman” is Schrödinger’s gaucho: both drunk and sober, dancing and collapsing in his hammock, until the pianist opens the box with a fortissimo chord.

Every accent feels like matter popping into existence, every silence like a return to the void. The harmonies are so sharp they could cut leather, yet they shimmer with humor—Ginastera winks as if to say, “Yes, it’s folkloric… but only if your folk live on a quantum ranch where time and tonality keep folding in on themselves.”

So, the first movement isn’t just a rustic stomp. It’s the cosmos reminding us that even in a dusty cowboy’s shuffle, the universe is jittering with infinite probabilities—and that sometimes the deepest truths arrive wrapped in a rhythm that sounds like a bar fight between a cowbell and a black hole.

Danzas Argentinas, Op. 2 - I. Danza del viejo boyero

Alberto Ginastera Danzas Argentinas, Op. 2 - I. Danza del viejo boyero

The second movement, Danza de la moza donosa, isn’t just a tender little love dance — it’s quantum flirtation in musical form. The melody hovers like a probability wave: soft, graceful, never quite here or there until you actually listen, and then — boom — it lands and melts you.

Chords shimmer between major and minor as if the universe can’t quite make up its mind. It’s a reminder that beauty isn’t fixed; it exists only in the act of observation. The rhythm sways like a shy glance across the room — heartbeat, hesitation, a whisper of possibility — and then vanishes before you can grab it.

To me, this is what quantum romance sounds like: delicate, unpredictable, and more powerful because of its uncertainty. The “graceful maiden” isn’t just dancing in Argentina — she’s dancing in the fabric of the cosmos, showing us that tenderness is every bit as mysterious, and as infinite, as the stars.

Alberto Ginastera Danzas Argentinas, Op. 2 - II. Danza de la moza donosa

The final dance explodes like a quantum rodeo. Danza del gaucho matrero — the outlaw gaucho’s stomp — is pure chaos harnessed into rhythm. One moment it’s pounding chords like fists on a tavern table, the next it’s darting sideways in harmonic ambush, as if the piano itself were trying to buck you off.

From the quantum point of view, this is what happens when a cowboy particle refuses to be pinned down. Energy spikes everywhere at once — wild, unruly, impossible to predict — until finally it slams into coherence with a grin that says, “Catch me if you can.” Each cluster chord feels like the sound of probability fields colliding, each silence like the void reloading its slingshot.

This gaucho isn’t just a rogue — he’s the embodiment of raw, uncollapsed potential. By the end, you’re not sure whether you’ve heard a dance, a duel, or a dimensional jailbreak. One thing’s certain: the universe itself just kicked up dust, and it smells suspiciously of whiskey and cosmic rebellion.

Alberto Ginastera Danzas Argentinas, Op. 2 - III. Danza del gaucho matrero

Chopin’s Waltz in A-flat major, Op. 42, is no ordinary dance—it’s a waltz supreme, a dance-poem where elegance collides with daring invention. On the surface, it dazzles with Parisian brilliance: swirling gowns, aristocratic pairs, a ballroom sparkling with wit and coquetry. But under the magnifying glass, it reveals Chopin’s genius for bending time itself. The left hand beats the familiar three of the waltz, while the right hand insists on two—duple against triple, particle against wave—creating an auditory illusion as if couples were gliding past each other in different dimensions.

Like a jeweler turning a diamond in shifting light, each return to this piece reveals new colors. Its interwoven themes play like refracted beams in a prism: amusement, drama, intimacy, and that unforgettable sostenuto melody blooming at the heart of the work, a melody Schumann said deserved to be danced only by countesses. Even Chopin’s humor flickers through—the sudden break in the reprise feels less like a mistake than sly stagecraft, as if a dancer had tripped, only for the music to whirl back into an ecstatic frenzy.

From a quantum lens, Op. 42 is superposition in sound: both gallop and glide, both order and abandon. Chopin carried fragments of it for years—echoes of youthful sketches, of tone-portraits of his beloved Maria, of earlier Valses Brillantes—before collapsing them into this final, mature form. The result is music that feels inevitable yet forever unstable, a ballroom spun inside a collider. It is Chopin the improviser and Chopin the architect fused into one: creating a waltz that is not just danced in time, but dances with time itself.

Frédéric Chopin Waltz in A-flat major, Op.42

What happens when music feels like it has no beginning and no end—when it hovers in the air as if time itself has slowed? Chopin’s Nocturne in E-flat major is one of those works. At first, you may hear a single voice: solitary, long-breathed, contemplative. But listen again. Almost immediately a second voice begins to move alongside the first, like two distinct currents in the same river. They weave together—sometimes shadowing each other, sometimes breaking apart—yet always resonating in unity.

This is more than melody. It’s a kind of living conversation: the upper voices entwine like two beings whispering secrets, while the left hand provides not just support but a vast landscape of energy, pulsing with its own hidden lines. The interplay creates coherence, a kind of resonance field where the brain recognizes polyphony and structure, but the heart absorbs longing, tenderness, and release.

Notice how the music swells and subsides like breath. The slow 12/8 rhythm acts almost like a meditation cycle, expanding awareness until you stop counting and simply feel the undulation. Forte dissolves into piano, emotion grows and abates, and you may find yourself carried beyond the notes—into the space between them.

By the time the coda arrives, harmony itself begins to stretch boundaries. Chopin moves from keys that should never touch, yet somehow they glow together—like distant particles suddenly entangled. It is daring, and it leaves behind not closure but suspension, as though the music is still vibrating long after the last sound fades.

Let this nocturne be more than background. Let it tune you. The brain finds pattern, the heart feels truth, and the body remembers what it means to resonate with beauty. In this music, thought and energy align, and the listener becomes part of the duet.

Frédéric Chopin Nocturne in E-flat Major, Op. 55 No. 2

Archie Chen is a pianist who is dedicated to upholding the music of John Field. And boy, does he deliver with this recording of the "Fantaisie sur un air russe in A minor 'In the Garden.'" It's a gem of a piece that's been long forgotten, but Chen brings it back to life with his scintillating performance. He's a devil-may-care virtuoso, but he also knows when to hold back and let Field's graceful lyricism and delicate fioritura shine. It's a rousing recording that will make you want to listen to more of Field's piano music. And who knows, maybe you'll even discover some hidden depths that you didn't know were there.

Fantaisie sur un air russe in A minor 'In the Garden' by John Field (1782-1837) a hidden gem performed by pianist Archie Chen on John Field's birthday July 26th. 

Live from the Hugh Lane Gallery on July 26th, 2015 as part of the Dublin International Piano Festival & Summer Academy concert series. Please comment and share!

My SoundCloud Channel: https://soundcloud.com/archie-chen
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Piano: Hamburg Steinway B
Piano Technician: Martin Walsh
Recording Engineer: Darby Carroll
Piano provided by Pianos Plus

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John Field Fantaisie sur un air russe in A minor 'In the Garden'

Ladies and gentlemen, prepare to embark on a wild and fiery adventure with Archie Chen's rendition of Chopin's Étude Op. 10, No. 4, also known as the "Torrent Étude." If you thought your hands were fast, think again! This presto con fuoco masterpiece will leave you breathless, as it sweeps you away on a torrent of semiquavers, sforzatos, and spirited motifs.

Imagine an ocean of sound, waves crashing against the rocky shores of C♯ minor with a relentless, uproarious intensity. And just when you think you can catch your breath, you'll be hurled back into the tempest, tossed about by a whirlwind of left and right hand alternations reminiscent of Bach's most exhilarating preludes.

This étude is like a rollercoaster ride through a musical storm, filled with sforzati climaxes and powerful arpeggios in tenths. And as if that wasn't enough, the coda takes it up a notch with a fiery, passionate finish that demands the pianist unleash their inner virtuoso, as fiercely as humanly possible!

But what makes this piece truly remarkable is the upbeat character of the motif, a bubbling undercurrent of life and energy that persists throughout. It's like a dance of elemental spirits, each note weaving and swirling in a dizzying display of speed and lightness.

So hold on tight, and prepare to be amazed by Archie Chen's performance of this "magnificent tone-painting" that leaps off the page and roars like a raging torrent! With a touch of humor, a sprinkle of wit, and a healthy dose of impressive virtuosity, you'll be left wondering how on earth the human hands could ever achieve such a feat. Chopin, eat your heart out!

Live from the Hugh Lane Gallery on August 4th, 2013 as part of the concert series of the Dublin International Piano Festival & Summer Academy. Please comment and share.

Piano: Hamburg Steinway B
Piano Technician: Martin Walsh
Recording Engineer: Joey McDonald
Piano provided by Pianos Plus

http://www.archiechen.com
http://www.pianofestival.ie

Frédéric Chopin Etude in C-sharp minor, op. 10 no. 4

Frédéric Chopin wrote his first piano concerto ever in 1830. It was premiered that same year, and published after his next concerto, hence it came to be known as the Piano Concerto no. 2, in F minor, even though it was the first to be composed. Written before Chopin finished his formal education, the piece betrays a certain sophistication in terms of formal development. It features an extremely dominant piano part, with the orchestra leaving all responsibility for musical development to the soloist, thus ignoring the interplay that is the mainstay of an instrumental concerto. 

Piano sextet version. 

Live from the National Concert Hall in Dublin, Ireland.

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www.archiechen.com
Piano: Hamburg Steinway D
Piano Technician: Paul Wade
Recording Engineer: Darby Carroll

Frédéric Chopin Piano Concerto no. 2 in F minor, op. 21 - II. Larghetto

While Bach was the end-all-be-all of the Baroque period, Chopin was the golden boy of the Romantic era. Just like the early Romantics rejected the cool objectivity of their predecessors, Chopin's music was all about expressing the self in all its various forms. In exploring new harmonic realms and tonal relationships, he had to come up with new forms to contain his highly individual creative messages. This resulted in his "character pieces" or piano miniatures - the shortest of which weighs in at just 16 measly measures. His Nocturnes, 19 in all, are particularly soulful and expressive, making them some of Chopin's most intimate pieces. Interestingly, Chopin has been wrongly credited with creating the genre of the romantic night piece. In fact, that honor goes to John Field, who composed 17 Nocturnes, the first three of which appeared when Chopin was just four years old. But don't let that take away from Chopin's supreme talent in the Nocturne genre. In short, Chopin was a true master of the Nocturne and his contributions to the genre will never be forgotten. Or at least until the next guy comes along and claims he invented it.

The Dublin-born Field was a pianist of wide acclaim throughout Europe. He was a student of Muzio Clementi and even worked in his piano shop. Field composed a ton of music, including eight piano concertos and 17 Nocturnes, the first three of which appeared in 1814 - when Chopin was just four years old. Most authors of books on Chopin try to downplay the influence of the Irish composer on the Polish master. Field may have invented the genre, but it was Chopin who really took it to the next level. You could say that Chopin took the essentials of the Nocturne and intensified them a thousandfold - like adding extra hot sauce to your already spicy burrito.

Even if you believe that Field invented the genre of the Nocturne, there's no denying that Chopin was a supreme practitioner in the field (pun intended). His piano style fully exploited the singing quality of the instrument and created a whole world of sonorities. He also used the sustaining pedal to amplify the piece's distinctive sonority, and his use of rubato contributed to the poetic ambiance. On a musical level, Chopin introduced the element of chromaticism into his harmonic structure, which influenced virtually all composers who came after him. Chopin's 19 Nocturnes are a real mixed bag - some are dreamy, some are tear-jerkers, and some are just plain stoic. The E-major Nocturne on this program is the 18th and final one that Chopin published in his lifetime (he did leave us with one more, but that was published posthumously). It's a real crowd-pleaser - it's got a nice, flowing melody and some fancy filigree, all held together by some sturdy chordal accompaniment. But don't worry, things don't stay calm for long - the left hand starts moving like crazy, and we get a new melody to go along with it. Then things get really interesting - we've got some syncopated, agitated music that really raises the tension. But don't worry, the main theme comes back to calm things down. And just when you think it's over, Chopin pulls out a little two-measure epilogue that some people might find a little unnecessary. But hey, who are we to question the master?

This is a live recording from Auer Hall at Indiana University Jacobs School of Music of one of Frederic Chopin's last works, the Nocturne in E major, op. 62, no. 2. 
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Piano: New York Steinway & Sons Model D

Frédéric Chopin Nocturne in E major, op. 62, no. 2

Welcome to Archie Chen's magical nocturnal voyage with Grieg's "Notturno," Op. 54, No. 4 – a gem from the Lyric Pieces that'll whisk you away to a mystical realm of serenity and enchantment! 🌙✨

Inspired by Grieg's rejuvenating trip to the Jotunheimen Mountains and his encounter with the lovely Gjendine Slålien, this "Notturno" showcases the composer's finest expressive and fresh elements. In fact, Grieg himself couldn't resist playing it in multiple concerts! 🎹🏔️

Get ready to be immersed in a twilight dreamscape, painted with shimmering extended chords and captivating harmonic shifts. Feel the gentle chill of autumn and the warmth of tender memories as Archie Chen's performance brings this piece to life. 🍂🔥

A precursor to the likes of Debussy and Ravel, Grieg's "Notturno" whispers a blend of post-Romantic and nationalist tones that resonate through time – so much so that you might even recognize it from popular TV shows and commercials! 📺🎶

So, sit back, relax, and let Archie Chen guide you through this enchanting musical world where the wonders of the past and present intertwine. It's an experience you'll cherish forever – or, as Grieg might have said, "en opplevelse for livet!" 🌌💫

This is a studio recording made for RTE's Arena broadcast on July 20th 2017.

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Piano: Steinway B
Recorded at RTE Radio Centre, Dublin

Edvard Grieg Notturno op. 54, no. 4

Buy the NFT! https://opensea.io/assets/0x495f947276749ce646f68ac8c248420045cb7b5e/24496840140547630814271513401791786089804692598360724963467026530417195876353/

A Christmas present from little Archie Chen performing from Grieg's Lyric Pieces Op. 54, No. 3, Trolltog(March of the Dwarfs)

This is a studio recording made for RTE's Arena broadcast on July 20th 2017.

My SoundCloud Channel: @archie-chen
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Piano: Steinway B
Recorded at RTE Radio Centre, Dublin

Edvard Grieg 'March of the Dwarfs' op. 54, no. 3

Chopin may have first dabbled in the world of Impromptus in 1834, but it wasn't until six years after his death that his "Fantaisie Impromptu" hit the streets (and eventually inspired the Tin Pan Alley classic "I'm Always Chasing Rainbows"). His earliest published Impromptu was in A-flat Major, written in 1837, the same year he met the one and only George Sand. Dedicated to Countess de Lobau, one of his fancy-pants pupils, it was published in December.

Fast forward to the summer of 1838, and Chopin's health was in serious decline. In a move that would make anyone question his judgement, he decided to spend the damp Parisian winter on the sunny, fresh-aired island of Majorca (which his friends, who had never been there, assured him was delightful). Spoiler alert: it was not delightful. Terrible weather, shabby accommodations, and a distinct lack of a piano meant that by the time he was diagnosed with TB, things were looking pretty grim. But a piano finally arrived from Paris, and by the end of December, Chopin was well enough to start composing again.

The Impromptu No. 2 in F-sharp Major, which was sketched during his unfortunate stay with George on Majorca and completed at her country house in Nohant, has the chill vibes of a nocturne. The opening section has two contrasting melodies, and the central episode is all about a more assertive theme with a dotted-rhythm ostinato in the bass. The big surprise comes at the end, when the opening phrase returns in the unexpected key of F Major, delaying the reappearance of the second theme with some sweeping figurations in the right hand.

Live from the National Concert Hall in Dublin, Ireland, 11th October, 2010. Please comment and share!

Piano: Hamburg Steinway D
Piano Technician: Paul Wade
Recording Engineer: Darby Carroll

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Frédéric Chopin Impromptu no. 2 in F sharp major, op. 36

I absolutely adore the Chopin Barcarolle. There are many reasons why I love this piece of music, but some of the main ones are its stunning melody, its rich and complex harmonies, and its emotional depth.

First and foremost, the melody of the Barcarolle is absolutely beautiful. It is both lyrical and expressive, and Chopin's skillful use of phrasing and ornamentation adds to its overall beauty. The melody moves through a range of emotions, from tender and delicate to intense and passionate. I find myself humming along every time I hear it.

In addition to its beautiful melody, the Barcarolle also features rich and complex harmonies. Chopin's use of chromaticism and modulations adds layers of depth and color to the music, and the way he combines different chords and harmonies is truly masterful. I am always amazed by the way the harmonies in the Barcarolle support and enhance the melody.

Finally, I love the Barcarolle because of its emotional depth. This piece is not just a pretty melody with fancy harmonies; it is a deeply emotional and expressive work of art. The music conveys a wide range of emotions, from wistfulness and longing to joy and exultation. I am always moved by the way Chopin is able to convey these emotions through his music.

Overall, the Chopin Barcarolle is a masterpiece, and I could listen to it over and over again. It is a true work of art, and I feel incredibly lucky to be able to experience its beauty from a performer's perspective.

In 1845, the Barcarolle was composed among other mazurkas and songs. It is known for its captivating sound and its fiery, passionate expression. By coincidence or design, the last of the three Mazurkas, Op. 59, ends with a transition to the bright key of F sharp major. Interestingly, the Barcarolle also begins in F sharp major, which is a rare key for Chopin. Throughout the piece, the key of F sharp major plays a significant role, as the music frequently departs from and returns to it.

The exact circumstances under which Chopin came up with the idea for the Barcarolle are unknown. Chopin never visited Venice and only briefly saw Italian landscapes and atmosphere on a boat trip. It is possible that the idea and form of the barcarolle came from existing works in the genre, particularly those by Rossini and Auber. All of these composers' operatic barcarolles were well-known to Chopin and could have influenced his composition.

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Piano: Fazioli F278
Recording Engineer: David Bjur
Piano Technician: Dave Severence
This track was recorded at Washington State University on June 26th, 2019.

Frédéric Chopin Barcarolle in F-sharp major, op. 60

Robert Schumann's "Faschingsschwank aus Wien Op. 26" is like a wild party for your ears. It's one of Schumann's most popular and most studied piano cycles, and it's easy to see why. It's full of lively carnival revelry and it's like a big romantic sonata. Imagine all the excitement of Mardi Gras, but with more piano and less hurricane-induced flooding. It's a wild ride from start to finish, and it's sure to get your fingers tapping and your toes tapping. So put on your dancing shoes and let's get this carnival started!

The Intermezzo is like a roller coaster ride for your ears. It's got a flowing sound that's created by a steady stream of right-hand notes in the background, interspersed with melody notes. And even though it's almost entirely based on transpositions, it's not as difficult as it looks. Well, at least not until you get to the part where Schumann's metronome goes haywire. Some musicologists have even said that Schumann's metronome was calibrated to go faster than it should have, which makes this piece a real challenge. But hey, that's what makes it fun, right? Just hold on tight and let the music take you for a wild ride.

It may have some seriously fast background notes in the right hand, but the melody is more like a beautiful aria. And even though the background notes may seem a little tricky at first, they're actually pretty easy to play once you get the hang of it. And the best part is when the left hand takes over and plays a modified version of the melody in E-flat major. It's like a good old-fashioned piano duel, but without all the gun-slinging and backstabbing. And even though it's a little melancholy and emotionally charged, it's a great showcase of a pianist's ability to convey feeling through music. So sit back, relax, and let the music take you on an emotional journey.

My SoundCloud Channel: @archie-chen
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Piano: Fazioli F278
Recording Engineer: David Bjur
Piano Technician: Dave Severence
This track was recorded at Washington State University on June 26th, 2019.

Robert Schumann Intermezzo from Faschingsschwank aus Wien, op. 26

Mozart's "Adagio in B minor" (1788) is a real party in the key of B minor. It's not just the daring use of chromatic harmony that makes it stand out, but also the fact that B minor is a key that was hardly ever used by 18th and 19th century composers. And let's be real, it's probably because it's a real pain in the butt to play. Trying to modulate to the dominant key of F# major with all those sharps is like trying to read a novel written in wingdings. It's just not happening. But props to Mozart for not letting a little thing like modulations stop him from creating a masterpiece.

B minor isn't just a key, it's a state of mind. It's the musical equivalent of a haunted house on a dark and stormy night. It's spooky, it's eerie, and it's perfect for evoking abnormal psychological states and foretelling tragic musical events. Just listen to Bach's "B minor Mass," Liszt's "Sonata in B minor," Chopin's "B minor Scherzo," or Tchaikovsky's "Symphony No. 6 (Pathétique)" if you don't believe me. And Mozart's "Adagio in B minor K. 540" is no exception. He fully embraces the spooky vibe of B minor and takes it to new heights. It's like a horror movie score, but with more crescendos.

It is basically one big drama fest from start to finish. It starts off with a solo melodic line in the right hand that outlines the B minor triad. And then BAM! You're hit with a diminished 7th chord that's like a punch to the gut. And it just keeps getting more intense from there. You've got all the emotional rhetorical devices you could want: plangent appoggiaturas, yearning suspensions, dramatic silences, and rapid contrasts of loud and soft. It's like a classical music roller coaster. And just when you think you can't handle any more drama, it ends with a bang. Or maybe a whimper. I can never tell as it depends on my mood.

It may be composed in sonata form, but it's definitely not your typical classical music. It's like a fantasia, with short bursts of jagged, instrumentally-conceived melody that seem like they're almost improvised. And forget about those lovely operatic melodies that you often find in piano sonatas. This one is all about the drama and the intensity. It's like Mozart decided to throw out the rulebook and just let his emotions loose. And honestly, it's pretty wild. But in a good way. Like a classical music emotional rollercoaster ride!

It's definitely a trip, especially in the development section where the chromatic harmonies are used. It's like Mozart is taking you on a tour of tonal space and you never know where you're going to end up. Pianist Vladimir Horowitz even said that this work is like a preview of the harmonic language that Chopin, Wagner, and Verdi would use. It's like Mozart was a time traveler who went into the future and brought back some sweet harmonic secrets. And if Horowitz says it's okay to perform it in a Romantic style, then who are we to argue? Let's get this chromatic party started!

My SoundCloud Channel: @archie-chen
Official Website: www.archiechen.com
Youtube DIPF www.youtube.com/c/PianofestivalIe
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Festival Website: www.pianofestival.ie
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Piano: Fazioli F278
Recording Engineer: David Bjur
Piano Technician: Dave Severence
This track was recorded at Washington State University on June 26th, 2019.

Adagio in B minor, K. 540

Wolfgang Amadeus Mozart Adagio in B minor, K. 540

Archie Chen is a concert pianist, creator, and cultural leader whose music spans from the world’s great stages to the quantum unknown. Praised by the Irish Times for his “daring velocity” and “fiery temperament,” he has performed at Carnegie Hall, Lincoln Center, the Gewandhaus, and beyond — captivating audiences across Europe, Asia, and the Americas.

As Executive Director of Holy Names Music Center in Spokane, Archie brings the same artistry and vision he brings to the keyboard: bold, creative, and committed to transformation. His recordings on Sony Classical and Carnegie Artists showcase not just technical brilliance but an alchemist’s touch — turning rhythm into resonance, matter into music.

This page is where it all comes together: live takes, studio sessions, and sound experiments. A space to step inside the frequency and hear music not just as notes, but as energy in motion.

Archie Chen

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