First I must say, great improvement! Indeed, as 'Teacher Joe' pointed out, the bass now has a melody. Continue to seek to define and refine that melody. The arpeggios are also more defined. Overall, your performance shows an increased 'color'. I enjoyed it. You're on the right track.
Keep in mind, you are
moving in the right direction! But...
One major flaw has managed to percolate its way deep into your subconscious.
Alrighty then, teacher hat on.
This is not nearly as hard as it sounds.
When one plays this etude, one must think first of the inspiration of its composition, Bach's Prelude Number One, WTC Book One, in C major. Chopin wrote this etude as a direct analogue of Bach's C major prelude. The Bach prelude demands one thing above all else, restraint. We would consider the idea of playing it at a tempo and volume that outstrip the capacity of the piano, our fingers and the accurate rendering of the notation ludicrous. Ask yourself why, then, you feel the need to play Chopin's variation of that Bach prelude, with the all the impetus (and subtlety) of a locomotive?
Technically speaking, your performance of the etude 10/1 is quite a mess. In almost every descending arppeggio you did one of three things. (Bars 6, 8, 32, 54, 56, 60 and 78 were better than most, however.)
1: You omitted the second semiquaver of the descending quadruplets (bars 2, 4, 10, 11, 16, 20, 22, 28, 33, 34, 36, 38, 40, 48, 50, 52, 58, 64, 70 and 72.) whilst altering the rhythm into that of descending triplets. The fourth finger kept skipping over its intended destination. Instead of playing 5-4-2-1 it sounded like 5-2-1. Bars 31-36 were extra messy. The solution is twofold.
First, make sure you use the fingering pattern 5-4-2
-1. I emphasise the 2
on purpose, it acts as a pivot, to aid the frictionless transfer of angular velocity via conservation of angular momentum, qualities often erroneously attributed to downward force, when in fact, the least amount of downward force must be used! Imagine, if you will, the bones of the upper body as a bicycle. Imagine your vertebrae and shoulder girdle as the bike's frame, the arm bones down to where the wrist joins the index finger as the axle, your finger bones as spokes, the piano keyboard as the seamless interaction of the gear and chain, the muscles of your upper body as the cyclist's legs and the soft fingertips as shock absorbing cushion of air in the tires. It would be nonsensical to attempt to propel a bicycle down a long stretch of smooth road by placing it in the gear intended for going uphill. Your legs would be hopelessly flailing 'round and 'round trying to accelerate, but lacking the leverage to do so. It would be equally silly to spasticly jerk your bike to and fro, in a futile effort to make it go faster. It would be far more logical to place the bike in a gear that produced the most forward speed with the least leg motion, maximizing leverage
, while keeping the body still and the feet in constant yet gentle
contact with the (bicycle) pedals, maximizing efficiency.
Use of leverage combined with a seamless legato (efficiency) is crucial to an effortless 10/1. This is the point of difficulty that seperates the brilliant renditions from the adequate ones.
2: Skipped notes whilst altering the rhythm into odd groups. Especially in bar 24, you played a sixteenth note followed by a dotted sixteenth note and then another sixteenth note, dotted rhythm in other words; to compensate for the lack of an effective pivot. In bar 42, I heard 5 + 7. Bar 43 was 7 + 6. Only in bar 44 did I hear 8 + 8.
3: Lack of a 'crown'. You can hear this very clearly in the second bar; there's a sudden jump, like a CD skipping. That's what it is, a skip. Those topmost notes must be clearly articulated. You gave the first bar (et al.!) a little over three beats! I noticed a strong tendency for you to try to balance the hastily shortened odd numbered bars (ascending) with hastily shortened even numbered ones (descending), that symmetry (albeit wrong) is what saved the performance. (Notice how the ascending arps. are in odd numbered bars and the descending arps. are in even numbered bars
Oh my, look at the time! I'm goin' to sleep
OK, teacher hat is off.
(I still want to hear a half tempo recording)
Now if someone would explain to me how to play the violin...