hyenal wrote:I'm afraid to lead this post to too Off-topic, but can you help me in understanding what a perfect Chopin rubato is? (Sorry for my ignorance again )
lol, just that the tempo remains steady in the accompaniment hand - maybe not metronomic, but with a strong enough pulse to at least sound metronomic to the casual listener - while the melodic hand is free from the accompaniment hand, weaving in and out. Perhaps both hands will weave in an out a bit, but the time that is borrowed must always be returned. GG's melodic hand was not all that free - I have heard more convincing Chopin rubato, that's for sure - but he kept the tempo under control, which is something that is lacking in most pianists' recordings of Chopin (Ashkenazy comes to mind....I have his complete Chopin). It is much easier for us to add ritardandos and accelerandos where there are none, than it is for us to keep the tempo and the precise rhythm in one hand, but not in the other. I find that the structure of the piece weakens when the rubato is too free. Melodies become garbled statements, and syncopation becomes meaningless.