Этюды Шопена

Профессор Санкт-Петербургской консерватории Владимир Нильсен анализирует два Этюда Шопена op.25 (№3, F-dur и № 5, e-moll). Снято за несколько недель до смерти музыканта. Approximate English translation of the video: "Generally speaking, I have done a lot of different discoveries during the summer. For example I looked through all the Beethoven’s sonatas, all the 32 (and really more, including the sonatinas), as then all the Schubert’s sonatas. And I have seen everything anew! I have a pain in my heart. I cannot play long with both hands. I begin playing with my right hand, imagining the left one playing (but actually lying on the table), and then sometimes not long with the both, and once more with only another one. And then I began looking through Chopin’s Etude. And what do you think? I found there such a heap of ignorance, and of my own also, that I felt ashamed. And why do I notice exactly these two etudes, number 15 and 17? When I played all the 24 etudes in succession, I always … [1.34] But leave the machine, it paralyses me! [1.44-1.55] This is a polish song, the words do exist, of course. But they are unknown to me. And so this etude is written for the first finger. And do you know … Granny had once A small grey goat … But do throw this apparatus to the devil! Sit here! [2.14] ...Why does Chopin write so? For not playing in this way. [2.22-2.49] And this is repeated. [3.05] So playing in this way is a full absurdity. And a metronome, which is there, apparently, from the Chopin’s time, demands not this tempo, but that: [3.27] Do you understand? Here is another proof. Left hand has this tie not from this note. And always when I am in this register I feel inconvenience, and I think Chopin wanted to play so; here is just the fifth finger. And now it is a child’s play. It is far better. [4.33] And here is another thing. There is another rhyme. Look, what a piece of subtlety it is. Do you hear? The melody here is not the same which they play usually (as myself did before). It turns out to be a different music. Look! That is such a line, that is such a music. [5.30] The Seventeen’s, 17. [5.40] Here there are several spellings. First the upper voice is an accompanying one. In return then its becoming the main one. There is here already. And there. It is written on the entirely different touches. [6.24] I never heard anybody playing so. Here everybody chokes. It is an extremely bad music. There is no of it already. And the very end. [7.00] Such small thing are here."