Thanks for the links. I listened to them all. I would never have thought these to be Chopin. My knowledge of Polish or slavic tongues in general is nill, except that I understand the Russian alphabet a bit. Chopin's style in these songs, to me, is so different from how I know him as the composer of piano music. BTW, the singer (a lovely brunett) does a great job. I have no idea what these songs are about, but the are most soul-full.
Your having posted songs, has caused me to realize that right from my original post on this thread, with my reference to singing, etc., I wonder if I inadvertently pointed the discussion in the wrong direction, because my intended theme was tempo shifts (rubato) of melody vs accompaniment in composed piano solo works. It is evident that many folks contributed with references to singers and vocal music, etc. which of course meant nothing to me seeking a discussion in application of rubato to piano literature. I'm not wanting to rehash anything, just making the observation that It probably would have been better if I had never made any reference to singers, accompaning singers as analogy, etc.
I had that in mind, but I was wondering if these might shed some light on his solo piano music and how it should be played. These are Poles, by the way. Can it not be that these intimate pieces, never intended to be published or played in public and to be burnt after his death, give us a key how Chopin felt his music should be played?
I often wonder also, supposing he were not known by one and by all (Poles apart and no pun intended!) as Frédéric François Chopin but as Fryderyk Franciszek Krzyżanowski (His mother's maiden name) would people not play his music differently?
Can you really disassociate ensemble from solo music? In what way would rubato change anything? If it works for a singer and a pianist why can in not for a pianist or, if it becomes a mess, does it make any difference how many people make it?
I liked these so much that I ordered a copy of the CD (same versions as on You Tube).