Chopin Competition in 1985

This is Chopin Competition Program and Bunin's Profile.

Bunin played below tune of chopin at First Qualifying of Chopin Competition.

• Nocturne No. 5
  
  
  
  

  Chopin Nocturne No. 5 was composed in 1832, it is a technically challenging piece in A-B-A form, in 2/4.

  The first section, Larghetto (mm.40), features an intricate, elaborately ornamental melody over an even quaver bass.

  The second section, labelled doppio movimento (double speed), resembles a scherzo with dotted quaver-semi quaver melody, semiquavers in a lower voice in the right hand, and large jumps in the bass.

  The final section is a shortened version of the first (14 bars rather than 24) with characteristic cadenzas and elaboration, finishing with an arpeggio on F# major, falling at first, then dying away.

• Etude OP.10-12
  
  
  

  Etude Op. 10, No. 12 in C minor, known as The Revolutionary Etude, is a solo piano work by Frederic Chopin written circa 1831.

  Upon conclusion of Poland's failed revolution against Russia, he cried "All this has caused me much pain.

  
  
  
• Chopin　Etude OP.25－8
  
  
  

  Any advice on learning this etude?

  I started it a couple weeks ago, and have the fingerings and have it learned about 2/3 to 3/4 tempo.

  I'm wondering how people who have played the piece approach the articulation and fingering to keep a relaxed feel.

  Is it advisable to release the lower note of the 6ths quickly in order not to stretch so much, and release tension?

• Scherzo No.4 op.54
  
  
  

  Frederic Chopin composed his Scherzo No. 4 in E major, Op. 54, the 4th and the last of his scherzos, in 1842.

  The scherzo was published in 1843.

  Unlike the preceding three scherzi (Op. 20, Op. 31, Op. 39), the E-major is generally calmer in temperament.

  It is in sonata rondo form.

  This ethereal composition is bathed in light, which ripples over the expanse of the keyboard.

  It is Chopin in a blessed moment, improvising and happy.

  His nerves are calm, and his deadly disease in check.

  Even the long trio in C-sharp minor, of seraphic lyric beauty, has no sign of morbidezza.

  The passagework is elegant; the coda is a picture of pastel beauty.