Chopin - Etude Op. 10 n. 9

ahhhhhh I know this study like the back of my hand!!!!! I studied it a long time ago.....

I was saying

Frank wrote:

It would be interesting to hear the complete work in order to compare this study with the others; taken individually (on the fly), I suffer from matters of taste in a couple of points, for which I will provide details as soon as I have a score at hand. Anyway, as I said in the past regarding another study I had listened to, it is a clean, orderly, precise, and thoughtful recording.

Aware that I am speaking about my personal tastes

At measure 25, I would like an accelerando and a crescendo towards the ff of 28 that is a bit more vigorous

The "tremolos" at 50 and 52 (I mean the last 4 sixteenth notes of the measures), I don't know why, but I desire them to be more "aggressive" or at least a seamless whole with what precedes... not that they aren't, but they come across to me a bit as if they had been "neglected/undervalued" ... read between the lines, not that you didn't think about it. Or rather, why did you think of them this way?

In general, I love dynamic contrast, so a bit of romantic "schizophrenia" is a necessity for me (perhaps contained and Chopin-esque)... obviously, we are in the realm of aesthetic choices and taste.

In general

TheSimon wrote:

Perhaps I might be the problem, even though I have adhered in what I would say an almost maniacal way to Chopin's indications...

It is never a problem to express and maintain one's own musical ideas (and then with knowledge of the facts as in your case); imagine how boring it would be if all the recordings of the studies were the same

I forgot, same setup as no. 8 for the audio?

I thought that even if at that moment, specifically in the last 4 sixteenth notes, the singing in the right hand is stationary, the left hand must come out but without exaggerating, i.e., staying more or less a tiny bit below the level of the right hand which represents the singing throughout the study.

Same armamentarium as number 8