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When expressiveness becomes poor timing
- Thread starter -Asdfgh-
- Start date
Sorry you cannot enjoy classical music. Perhaps set it aside and come back to it at a later time, when things don't need to be overly structured and rigid for you.
Without the specifics of which Chopin piece, performer and recording you were listening to, it’s hard respond other than to say there’s good, less good, and bad Classical performances. Some musicians can go overboard with their interpretation of a piece in a given performance. 
I was classically trained in piano and for years as a kid I played the different Bachs, Chopin, Mozart, and on and on. My imprimatur was that the time needed to stay pretty straight with just the slightest speed or dufus to feel as a slight push or pull. I've indeed heard BAD classical music performances with really woozy-boozy time variations, and in that case, you just keep walking.
It's actually a modern excess. Most music from that time frame was performed on pipe organs with men working the bellows in the basement, and keyboards were either clavichord or harpsichord leading to the earliest pianoforte's, a far, far cry from modern pianos, pipe organs, much less the broad range of keyboards we have now. They were hard to play, had little dynamic potential, and were exotic possessions only of the wealthy.
It's actually a modern excess. Most music from that time frame was performed on pipe organs with men working the bellows in the basement, and keyboards were either clavichord or harpsichord leading to the earliest pianoforte's, a far, far cry from modern pianos, pipe organs, much less the broad range of keyboards we have now. They were hard to play, had little dynamic potential, and were exotic possessions only of the wealthy.
I'll happily be corrected if I'm wrong, but it's my understanding that Chopin is from the Romantic era, by which time pianos were common and not that different from contemporary pianos. What you're describing sounds to me like the Baroque era.
My brother was classically trained on piano and I learned my appreciation of classical music from his hours and hours of practicing for 15 years. He eventually auditioned for Julliard on the advice of one of his instructors but following the audition decided to go into sciences instead.
I'm a fan of several classical composers but one of my favorites is Chopin and I regret that we can't hear him play his interpretations of his music.
I'm a fan of several classical composers but one of my favorites is Chopin and I regret that we can't hear him play his interpretations of his music.
My understanding is that Chopin’s pianos were very different from the more modern pianos we’re most familiar with. Both his pianos required a lighter touch, had less key dip, and one (a Pleyel if I recall my music class) actually had narrower keys (i.e. narrower octave span) and a less homogeneous tone across it’s entire range than most grand pianos do. That allowed him to compose for more nuance and variety in tone than he might have otherwise. His other piano (I’ve since forgotten the name of that maker) was very similar but required a firmer touch. I think they were both single escapement rather than double escapement instruments. But I could be wrong about that since it’s been awhile.
Either way, both were said to have had more in common with the now very rare Viennese Piano in terms of its playing feel and sound. And they had an allegedly major influence on his compositions and performance style.
This is a video of someone playing Chopin on a Pleyel piano he actually performed on. There’s a definite difference between this sound and timbre compared to that of a more modern grand.
Great stuff, thanks. It sounds like the piano went through quite a few refinements since then. I suppose "not that different" in my post was not a terribly accurate way of expressing myself, trying to make the point that they were similar enough to modern pianos compared to pipe organs and harpsichords (mentioned by the person to whom was responding); e.g., capable of dynamics, dampers and damper pedal, etc.My understanding is that Chopin’s pianos were very different from the more modern pianos we’re most familiar with. Both his pianos required a lighter touch, had less key dip, and one (a Pleyel if I recall my music class) actually had narrower keys (i.e. narrower octave span) and a less homogeneous tone across it’s entire range than most grand pianos do. That allowed him to compose for more nuance and variety in tone than he might have otherwise. His other piano (I’ve since forgotten the name of that maker) was very similar but required a firmer touch. I think they were both single escapement rather than double escapement instruments. But I could be wrong about that since it’s been awhile.
Either way, both were said to have had more in common with the now very rare Viennese Piano in terms of its playing feel and sound. And they had an allegedly major influence on his compositions and performance style.
This is a video of someone playing Chopin on a Pleyel piano he actually performed on. There’s a definite difference between this sound and timbre compared to that of a more modern grand.
It would be helpful to cite the actual piece and player. Solo music, be it piano, 'cello or whatever, is very much at the mercy of the sensibilities and taste of the soloist, more so than the intent of the composer, especially once they are dead. One man's trash is another man's treasure: a listen to the actual performance you are talking about would help.
Pianos had become more common by then, but the manufacturing and performance were still quite behind what we have today. While uncommon but still occasionally happening, for instance, metallurgy was still iffy (see Titanic) and harps could give under the massive tension of that string set. Not the explosive performance originally intended.
Thanks much. As noted above, I didn't express myself very well: by "not that different" I just meant compared to pipe organs and harpsichords (mentioned by the person to whom I was responding).
You’re welcome!
I got very interested in music that was being performed on period accurate instruments and tuning back in my student days. That was a big thing in the 70s. I was in a few Medieval and Renaissance consorts back then. But went on from there to explore Baroque and later styles too. All really good stuff! It gave you a whole different perspective on what the composer’s original intent was. Sometimes it was pretty eye opening once you got beyond A=440 and well tempered scale intervals.
(I’m still jonesing to get a Viennese Piano even though I never will. However, getting a small virginal someday isn’t entirely off the table.
)
