[quote="techneut"] like Pogorelich, Mustonen, or Pletnev
These names are music for mu ears. and Sokolov.
> Technically you are well on top
Thank you. I'll try to play at a decent tecnical level. Not easy, for me.
> of it but very strange things happen with the rhythm, both in the poco piu lento and the doppio movimento sections.
Abut "Doppio Movimento":
One plays the triplets of demi-quavers (bars 38-48 at certain tempo (as that of my recording, a "normal" tempo, average of tempos of other pianists I think). At bar 49 the demiquavers become quavers. "Doppio movimento" means only : now one triplet of quavers is as one triplet of demi-quavers of the last bar. Thi, apart it's logic, permit to play again the initial theme at the same
tempo (as in the "Aria con da capo" , which is this nocturne structure in my analysis)
> The polyrhythms sound a bit random.
There is an "agitato". And I tend to not renonce to "rubato" in this section.
> jarred my ear is in bar 29, where, in both hands, you play D flat instead of d. Is that a D flat in your score ?
Only in my worm-eaten head. Again as for the Db of the mazurka (no-one among musicians-friend
The mazurka I've recorded again (and I'll send you), this Nocturne no.
I could play it slower in the next version: do you will have the D natural and a slower recording?
About this tempo: now I feel this as "my tempo for this nocturne", I'm synchronized with it and
i don't know if I can feel and sound it at a faster tempo (as I did).
I think that is a normal tempo for this theatral scene (a belcanto-duet) : the singers must
have all the necessary time to breathe and to phrasing as in that time.
>The constant de-synchronization of hands (left-before-right) did get rather on my nerves here.
I smile because I've recorded again (and the last is the version on the site) this Nocturne
, this time with MUCH LESS left-before-right (but also vice-versa, both are retoric skills to use).
I find curious to play Chopin (and not only) WITHOUT these "phase displacements".
Where is written that Pollini (with is pefect bass-melody aplomb) is more "chopinesque" than Rosenthal or Magaloff or Cherkassky (which have less aplomb not only than Pollini but also
than me) ?
> The closing chord is not marked arpeggio in my Paderewski score, is it in yours ?
No, it is not written. But was usual at Chopin times to play some chords in this way.
In modern times, among "pros", the only Samson Francois played here so.
I cannot tell that Chopin liked so, but one can tell he didn't like?
I played so because it seems to my poor fantasy a pleasurable and efficacious way to conclude.
Is it not "mainstream" piano playing ? I'm not so arrogant to boast of this, but the reality is: it's the only way I know to enjoy myself when I play piano. And : no enjoying (of the player), no party.
Or was it a drink?
But really and sincerely,
Thank you for ALL your considerations .
There are here some other recordings, which sounds a little "foolish" to me too...
But I like them and I'll send.
I'll put the helmet.. You prepare the aspirin for head-ache and/or tooth-ache