Normally I would prefer a little slower, but that is mad impressive fast.

Life... with all its contradictions 🖤🤍

the best perfomance i‘ve ever heard. This speed is AMAZING!!!🏋️‍♀️🔥🔥🔥🔥🔥

Im 15 and I have played this etude. Its nice peece and not that hard to learn and play it like he plays it. U can listen how I play it!

🎹classical ahh🤌✨

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"

Tchaikovsky   Piano Concerto No 1, B Flat Minor, Op 23 Open   Best Of Classical Music

https://www.aleksandramikulska.com​

https://bio.to/aleksandra​

Chopin: Balladen

Nocturne in F Minor, Op. 55: No. 1

Chopin - Nocturne in F Minor op. 55  No. 1

Steinway & Sons Model D 274 Concert Grand Piano. Live Piano Recording. Orchestral String from Garritan Instant Orchestra. I hope you love the melancholy theme of this song.

Frédéric Chopin - Waltz In B Minor, Op.69 No.2 (No.10) (Orchestrated Version)

illustration: James Abbott McNeill Whistler - 'Nocturne in black and gold - The Falling Rocket', 1872-1877, Detroit Institute of Arts, Detroit

Frédéric Chopin - Nocturne in C sharp minor no. 20 'Lento con gran espressione' op. posth.

Chopin - Nocturne Op.9 No.2

Paganini - Violin Concerto No. 2 In B Minor, III. Rondo “La Campanella“

The Chopin Fantaisie-Impromptu is one of those iconic pieces of the classical piano repertoire. It is arguably played too much so why have I added my performance? I think the infinite ways a piece can change in the hands of different musicians is actually very interesting. My version is fast but lyrical and I search for an unexaggerated and natural romanticism and warmth.

You can also follow me on Spotify at https://spoti.fi/2MRR1lV and stream the albums I have released there.

Fantaisie-Impromptu Op. 66 - Chopin

Pyotr Ilyich Tchaikovsky - The Nutcracker Suite, Op. 71a. III. Waltz of the Flowers

Johannes Brahms - Hungarian Dance #5 (piano cover)

"Through its dynamic co-operation TrondheimSolistene (the Trondheim Soloists) and 2L has always sort to stretch the boundaries of what is possible to convey to the listener, aiming for the ultimate recorded listening experience. With the Serenade the team has taken things one step further with the TrondheimSolistene truly justifying their name. By placing each individual next to someone from a different voice rather than sitting in conventional sections we are working at the very outer limits of what is possible and creating chamber music at the highest level" - Øyvind Gimse, 2012.

http://www.2l.no/pages/album/090.html

We allocated two weeks in 2011 to record this new album. Artistic director Øyvind Gimse and his associate Geir Inge Lotsberg initially chose two pieces that represent, in their estimation, "the most beautiful music ever composer for the string orchestra": Tchaikovsky's Souvenir de Florence and his Serenade for Strings. Aiming for a 90 minutes program left 30 more minutes to record. So the orchestra and 2L logged on to Facebook and asked the listeners worldwide what they'd like to hear. And the audience responded: Nielsen's Suite Opus 1. A little gem that would exploit the Trondheim Soloists' singular way with Nordic repertoire.

Inspired by Morten Lindberg's extensive work with choral music, the Tchaikovsky's SERENADE was recorded with the ensemble placed in mixed voices, meaning no one is sitting beside anyone playing the same part, creating a totally new soundscape to the music. Carl Nielsen's SUITE opus 1 is recorded in a more "traditional" way in these sessions: Facebook Photo Album - Recording Sessions Part I

What we recorded in May 2011 is now published exclusively as high resolution audio files, by streaming and on vinyl. Then our recordings from October will add up to a full release on Pure Audio Blu-ray in May 2012.

DXD (352.8kHz/24bit) DMM (Direct Metal Master)
180g audiophile grade vinyl

TrondheimSolistene (The Trondheim Soloists) are regarded as one of the top chamber orchestras in the world. Their DIVERTIMENTI and FOLK STYLE were both nominated for a total of five American GRAMMY Awards in categories "Best Small Ensemble", "Best Engineered Album" and "Best Surround Sound Album".

The music captured by 2L features Norwegian composers and performers, and an international repertoire reflected in the Nordic atmosphere. The surround sound recordings of Lindberg Lyd not only transforms the entire listening experience, more radically, these innovative recordings overturn some very basic concepts regarding how music is played and even composed. 2L emphasizes surround sound with Pure Audio Blu-ray and HiRes file distribution, and have garnered no less than 12 American GRAMMY nominations over the past six years.

Tchaikovsky - Souvenir de Florence: I. Allegro

wolfgang amadeus mozart - requiem es una pista La Misa de Réquiem en re menor, K. 626, es una obra de Wolfgang Amadeus Mozart basada en los textos latinos para el Réquiem, es decir, el acto litúrgico católico celebrado tras el fallecimiento de una persona; se trata de la decimonovena y última misa escrita por Mozart. Mozart murió antes de terminarla, en 1791. En junio de 1791, Mozart ofreció en Viena uno de sus últimos conciertos públicos; tocó el Concierto para piano n.º 27 (KV 595). Su último hijo, Franz Xaver Wolfgang, nació el 26 de julio.
Pocos días antes se presentó en su casa un desconocido, vestido de gris, que rehusó identificarse y que encargó a Mozart la composición de un réquiem. Le dio un adelanto y quedaron en que regresaría en un mes. Pero el compositor fue llamado desde Praga para escribir la ópera La clemencia de Tito, para festejar la coronación de Leopoldo II.
Cuando subía con su esposa al carruaje que los llevaría a esa ciudad, el desconocido se presentó otra vez, preguntando por su encargo. Esto sobrecogió al compositor.
Más tarde se supo que aquel sombrío personaje (al parecer, llamado Franz Anton Leitgeb) era un enviado del conde Franz von Walsegg, músico aficionado cuya esposa había fallecido. El viudo deseaba que Mozart compusiese la misa de réquiem para los funerales de su mujer, pero quería hacer creer a los demás que la obra era suya y por eso permanecía en el anonimato.
Según la leyenda, Mozart, obsesionado con la idea de la muerte, desde la de su padre, debilitado por la fatiga y la enfermedad, muy sensible a lo sobrenatural por su vinculación con la francmasonería[cita requerida] e impresionado por el aspecto del enviado, terminó por creer que éste era un mensajero del Destino y que el réquiem que iba a componer sería para su propio funeral.
Mozart, al morir, consiguió terminar tan solo tres secciones con el coro y órgano completo: Introitus, Kyrie y Dies Irae. Del resto de la Secuencia dejó las partes instrumentales, el coro, voces solistas y el cifrado del bajo y órgano incompletos, además de anotaciones para su discípulo Franz Xaver Süssmayr. También había indicaciones instrumentales y corales en el Domine Jesu y en el Agnus Dei. No había dejado nada escrito para el Sanctus ni el Communio. Aunque en un principio Constanze, su viuda, pidió al músico de la Corte Joseph Leopold Eybler que terminase el Réquiem, fue su discípulo Süssmayer quien lo acabó (siguiendo las directrices de Mozart), completando las partes faltantes de la instrumentación, agregando música en donde faltaba y componiendo íntegramente el Sanctus. Para el Communio, simplemente utilizó los temas del Introito y el Kyrie, a manera de reexposición, para darle cierta coherencia a la obra.
Una de las principales influencias de esta obra puede hallarse en el Réquiem de Michael Haydn compuesto en el año 1771 para la muerte del arzobispo de Salzburgo S. C. Schrattenbach.
Aunque al parecer se interpretaron extractos del Réquiem en una misa en memoria de Mozart celebrada el 10 de diciembre de 1791, el estreno de la obra completa se produjo en Viena el 2 de enero de 1793 en un concierto en beneficio de la viuda del músico austríaco, (Constanze Weber). Fue interpretado de nuevo el 14 de diciembre de 1793, durante la misa que conmemoraba la muerte de la esposa del conde Walsegg y bajo la dirección del propio conde.
Después de esta interpretación, el conde Walsseg realizó una reducción para quinteto de cuerda, pero la obra no volvió a interpretarse bajo su patrocinio.

Wolfgang Amadeus Mozart - Requiem

I produced this track using midi and EW Gold Pianos in order to perfection the performance as I imagine it.

Franz Liszt - La Campanella

Fantaisie-Impromtu in C Sharp Minor, Op. 66

Chopin - Fantaisie-Impromptu in C-sharp minor op. 66

Ballade No. 1 in G Minor, Op. 23

Chopin - Ballade No. 1 in G Minor op. 23

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.

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

Archie Chen

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