I have been infatuated with this piece for a few weeks, now. It literally used to make me cry when listening to it - my heart hurt from the beauty of it. Then as I became better at playing it, I got more of a 'turned on' feeling than anything else (I know, weird reaction). Too bad I am always alone when playing piano.
So...for two days, I have done nothing but record this piece. Had to give up my morning coffee, too, so I wouldn't be so shaky and heavy-handed. But no matter how hard I have practiced, or how many times I recorded this, I just can't get it perfect. This is the best I can do. Upon listening to it the very last time after editing out starts and stops, adding reverb, and naming it correctly, I did end up crying again, because it just doesn't go the way I wish I could play it. There are a few inaudible notes, some notes that you can hear but are too soft, some notes that came out too loud - Grrrr - I'm so disappointed in my playing. If you have any tips on how to play better, how to play softer, smoother, lighter, anything at all, I would be very greatful.Chopin Nocturne Op. 27, No. 2
I definitely don't see any reason to cry...you've been working on it for just a few weeks, after all, and the technique isn't easy, despite the deceptive cadence. You know that.
You also know that I respect anyone that makes tempo a priority with Chopin, which you of course did, and you did a lovely job.
I won't say anything about that particular point that we already discussed.
One thing that I did, after I had played this nocturne for a jury the conventional way...I changed my fingering in the left hand to switch to the thumb on the 6th part of each beat, or most of them, anyway. It's unconventional, and I'm not sure that Chopin would have approved of it, but I loved playing it that way. It made it sooo much easier to be legato in the left hand, it made for any easy smooth pedal, and also helped me to control the volume of the left hand, and to be contrapuntal with the accompaniment. I find that using the soft pedal a great deal in this piece makes it too difficult to make the melody sing like it should.
For those of you who have different ideas about tempo rubato, and also compare it to sexual expression...or repression...whatever.
Keep this in mind - the best path to a true sexual release is a nice, steady rhythm. Those who are bad in bed are those you just can't get in sync with, are they not?
This might sound really weird from my side but the excitement I sometimes feel in music can be close to sexual excitement (now don't make fun of me!).
I'm not about to make fun of you...I was raised on Chopin, and I first remember making the connection between music and sexual tension and release when I was about 12, with the 25/1 Etude.