pianolady wrote:I feel the same way about 9/2. It's nice, but so overplayed that I don't even want to play it. Plus, I can't remember if I mentioned this before, but it was used on a women's vitamin commercial years ago, and now I can't help remembering that when I hear it.
My association problem with this one is a Madonna movie from about 10-15 years ago called "Body of Evidence". It was a very risqué movie, and I watched it with my mom and her best friend, so it ended up being pretty embarrassing for her (she didn't expect it to be so raunchy). Anyway, it was all about S&M, and Madonna was trying to convince Willem Dafoe's character that he was an S&M kind of guy - they were in a restaurant, and the 9/2 nocturne was playing.
You're right about 9/1 - I love it. That g-flat on the second to last measure just kills me. I'm trying to decide which nocturne to learn next and it's either that one or 62/2. Any thoughts on these two?
Just go with whichever one you want to play the most. I really love both of them, but I'd probably choose the 9/1. But, as chopinman said, the 62/2 is rather underplayed - probably because it's one of those that doesn't quite catch your attention in the beginning. You have to sort of make it past the exposition before it gets good, and you sort of have to be familiar with what comes in the development sections to really appreciate the exposition.
"Z Czernym poznałem się na panie brat—na dwa fortepiana często z nim u niego grywałem. Dobry człowiek, ale nic więcej..." - Fryderyk Chopin