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It's Fun to Play the Piano ... Please Pass It On!
I'm doing this because I have a nominee for it, a clear #1 to my mind, although of course I'm sure I'll agree that any number of other pieces that you might mention are deserving too.
First, how to define it (does it need a definition?):
However you want.
How I see it: Greatest disparity between how good/great you feel it is and how much it is played.
Or, just, really should be played a lot more. Or, "I don't understand why this isn't played more."
(although with this piece, I think I know why it isn't)
As a crazy fan of Evgeni Bozhanov I’ve listened to this Impromptu hundreds of times in his performance from the same competition but in 2010. I’m biased but I think his Chopin is unmatched 😛
The idea of the single most underplayed piece is rather silly. Much more reasonable is just a list of underplayed pieces and there have been quite a few PW threads about this.
The idea of the single most underplayed piece is rather silly.
Of course!
BTW, before I posted the recording, I went through quite a few on youtube, to pick out my favorite. Bozhanov was one of the others that stood out to me. I was struck by how many I didn't particularly like. The 'sins' were mainly: too fast, or too slow, or not "poetic" enough (or at all), or too ponderously/affectedly poetic.....
We might not necessarily think that this piece, which is relatively simple, would be subject to such persnickety-ness, but I found that at least for me, it is.
I think that the 2nd Impromptu (Opus 36) would be the most underplayed of the four Impromptus - given the difficulty of the final section. All those running notes - yikes !!
I think that the 2nd Impromptu (Opus 36) would be the most underplayed of the four Impromptus - given the difficulty of the final section. All those running notes - yikes !!
I think that the 2nd Impromptu (Opus 36) would be the most underplayed of the four Impromptus - given the difficulty of the final section. All those running notes - yikes !!
I'm amazed that Henle rates all four Impromptus at Level 7 (difficult). This one is clearly an 8.
I do think the 2nd Impromptu is up there too, but, isn't it played quite a bit more than the 3rd?
Perhaps - but certainly not by me. I posted (and you commented on) a recording of No. 3 on PW about 10 years ago. I've recently revisited the piece and may re-record it in an effort to play it more smoothly - which is one of the challenges of the work.
I vote for Rachmaninov's Variations on a Theme by Corelli. I also consider Mendelssohn's Variations Sérieuses, Op. 54, and his Scottish Sonata, Op. 28, somewhat undervalued.
I vote for Rachmaninov's Variations on a Theme by Corelli. I also consider Mendelssohn's Variations Sérieuses, Op. 54, and his Scottish Sonata, Op. 28, somewhat undervalued.
I especially agree with that last one. (usually called Fantasie in F# minor)
I vote for Rachmaninov's Variations on a Theme by Corelli. I also consider Mendelssohn's Variations Sérieuses, Op. 54, and his Scottish Sonata, Op. 28, somewhat undervalued.
I vote for Rachmaninov's Variations on a Theme by Corelli. I also consider Mendelssohn's Variations Sérieuses, Op. 54, and his Scottish Sonata, Op. 28, somewhat undervalued.
I think that the 2nd Impromptu (Opus 36) would be the most underplayed of the four Impromptus - given the difficulty of the final section. All those running notes - yikes !!
I'm amazed that Henle rates all four Impromptus at Level 7 (difficult). This one is clearly an 8.
I agree that this is a stunning piece. Only last year, I think, I heard this as if for the first time. Listened to it so much that I had to learn it. That's how that happens.
To me there is a rare quality to this piece because of the overall mood, organization of the sections and variety of style. Each section flows into the next but the nature of the sections are so dramatically different. The wonderfully subdued opening leads to jubilant expression in the closing pages.
I worked on this with my teacher from beginning to end but it didn't make it to the "done" pile (partly because it was never on the agenda to learn haha). That last section and the section before it (my favorite) are very difficult. Hopefully will return to it sometime next year. Similar to the comments about op. 51, there are few performances of this piece that I really like. I find Claudio Arrau to be a reliable source for the Nocturnes and Impromptus and he doesn't disappoint in the op. 36.
Someone else will mention it eventually but I will add Brahms Variations on an Original Theme op. 21 no. 1. I've heard many versions but at this point I'm not really sure which to recommend. I "found" the piece when hearing Julius Katchen's recording. You could certainly do worse. It's wonderful.
It seems that Brahms developed this composition over an extended period of time while he was working out his own techniques in variation. He did this during a period of obsession over the late Beethoven sonatas.
I posted (and you commented on) a recording of No. 3 on PW about 10 years ago. I've recently revisited the piece and may re-record it in an effort to play it more smoothly - which is one of the challenges of the work.