Qualifying two

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

• Ballade No.4 OP.52
  
  
  

  The Ballade No. 4 in F minor, Op. 52 was composed in 1842 in Paris and Nohant, and revised in 1843.

  The work was dedicated to Baronne C. de Rothschild, wife of Nathaniel de Rothschild,who had invited Chopin to play in her Parisian residence, where she introduced him to the aristocracy and nobility.

  According to Robert Schumann, this Ballade was inspired by Adam Mickiewicz's poem The Three Budrys, which tells of three brothers sent away by their father to seek treasures, and the story of their return with three Polish brides.

• Prelude OP.28-13
  
  
  

  Prelude No. 13 "Loss", lento, is long and has continuous single-note quaver movement in the left hand, with chords and melody in the right.

• Prelude OP.28-14
  
  
  

  Prelude No. 14 "Fear" recalls Prelude No. 1 in its shortness and textural uniformity.

• Prelude OP.28-15
  
  
  

  Prelude No. 15 "Raindrop" is the longest of the twenty-four.

  The main melody is repeated three times; the melody in the middle, however, is much more dark and dramatic.

  The key signature switches between D-flat major and C-sharp minor (its parallel minor).

• Prelude OP.28-16
  
  
  

  Prelude No. 16 "Hades" starts with six heavily accented chords before progressing to an impromptu-like passage in the right hand.

  The left hand mainly supports the right hand and repeats the same melody repeatedly.

  This piece is considered by many to be the most difficult of the set.

• Prelude OP.28-17
  
  
  

  Prelude No. 17 "A Scene on the Place do Notre-Dame de Paris" is one of the longest and the favourite of many musicians, including Clara Schumann. Mendelssohn wrote of it, "I love it! I cannot tell you how much or why; except perhaps that it is something which I could never at all have written."

• Prelude OP.28-18
  
  
  

  Prelude No. 18 "Suicide" is suggestive of a mortal struggle.

  The technical challenges lie chiefly in the irregular timing of the three runs, each faster than its predecessor, played simultaneously by each hand one octave apart.

  A fortissimo five-octave arpeggio echoes downward into the depths of the bass registers, where the final struggle takes place and culminates with the double-fortissimo chord finale.

• Waltz OP.34-3 No. 4
  
  
  

  Op.34, No.3, is more rightfully deserving of the "brillante" description than its immediate predecessor.

  Although quick (marked Vivace) and energetic, this is hardly a work that would find favor among elite nineteenth-century dancers (it is, among other things, far too short).

  The waltz is not characterized by any particularly distinct thematic material; rather, its perpetual motion is driven forward in a seemingly improvisatory way.

  The pungent appoggiaturas contained in the fourth section of the piece have earned the Waltz the nickname the "Cat Valse" (as the legend, totally unsubstantiated, goes, Chopin's cat hopped up on the keyboard, his little paws striking the first notes of this passage).

  A buzz of witty activity draws the work to a close.

• Chopin polonaise OP.53
  
  
  

  The Polonaise in A-flat major, Op. 53 or (French: Polonaise h?ro?que, Heroic Polonaise) for solo piano was written by Frederic Chopin in 1842.

  This masterpiece is one of Chopin's most popular compositions and has always been a favorite of the classical piano repertoire.

  The piece requires exceptional pianistic skills and requires virtuosity to be played at an appropriate level of quality.

  It is also sometimes referred to as the Drum Polonaise.