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I've had the technical part of this piece under my fingers for quite some time, but the interpretation of it has eluded me for even longer. That is why I will ask all the geniuses here for tips!
In the beginning (hah sounds like the bible), the introduction is of course very very important. In measure 3, after the low C#, B and A#, should the note be held out for only the quarter note value? Or should it be let ring? I guess it does have some sort of beauty to play the note for a short bit, then have a whole half measure of silence, but I'm not sure.
How much rubato do you think is appropriate in a piece like this? For example, the sixteenth note sixths runs, do you think that a little rubato is ok here?
On the subject of ornaments, I'm never sure what grace notes should be played on the beat, and usually I play all trills on the upper note unless proceeding downward, or with a grace note on the principle note. For example, in measure 8, would the F# grace note be BEFORE the beat because it is an octave skip AND an anticipation of the D#-F#? And in measure 10, I usually play the D#-F#-A# chord on the beat. Is this ok?
More ornamental, in measure 16, the F# grace notes, should those be ON the beat or AHEAD?
In measure 72, the meno mosso section, do you think I should play it staccato with no pedal (in the parts he didn't mark pedaling)? Did Chopin want this section to be dry? And later on, the staccato marks disappear. Am I correct in assuming that Chopin did what he usually does, and became a little lazy, and so should I still play those notes staccato?
In measure 103, tempo primo, Chopin marks Sempre forte. Does this sempre last until measure 110?
In measure 111, I'm assuming that the grace notes in the left hand should be played AHEAD of the beat?
In the last measure, is that last note of the long scale of the previous measure played by the LEFT hand, because Chopin notated a rest in the right hand? Or should the right hand end the scale? And whoever responds, can you tell me what the pedaling is indicated in the last measure? I can never be satisfied with the sound of this simple, but GREAT ending.
Thanks in advance!!!
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<sigh> Anybody?
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I will need to get out my music... let me dig it out this weekend and I'll see if I can offer any advice... Remember, it's worth what you paid for it! Nina
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Originally posted by aznxk3vi17:
In measure 3, after the low C#, B and A#, should the note be held out for only the quarter note value? Or should it be let ring?
I generally give it a bit more than marked, but let up for a distinct breath before the LH theme picks up in measure 4.
How much rubato do you think is appropriate in a piece like this? For example, the sixteenth note sixths runs, do you think that a little rubato is ok here?
IMHO rubato can be overdone, even in Chopin... but my tendency, I think, is to perhaps err on the other side, so I'm not the best to give advice here. I do think that however you apply rubato, you should do it (as well as loud-soft) slightly differently for the different runs... in other words, don't always start slower and soft, ending loud and fast. Sorry if this sounds basic, but I can find myself in a rut if I don't make a dynamic plan.
On the subject of ornaments, I'm never sure what grace notes should be played on the beat, and usually I play all trills on the upper note unless proceeding downward, or with a grace note on the principle note. For example, in measure 8, would the F# grace note be BEFORE the beat because it is an octave skip AND an anticipation of the D#-F#?
That's how I do it, FWIW.
And in measure 10, I usually play the D#-F#-A# chord on the beat. Is this ok?
I think it's OK... I play all the grace notes before the beat in this piece, I'm pretty sure.
More ornamental, in measure 16, the F# grace notes, should those be ON the beat or AHEAD?
I do it ahead... the chord on the beat.
In measure 72, the meno mosso section, do you think I should play it staccato with no pedal (in the parts he didn't mark pedaling)? Did Chopin want this section to be dry?
I do it fairly staccato, but make sure the toptone is good and strong in the treble. I don't think it sounds dry! I think of the LH sort of like a heartbeat... it sort of helps propel the section forward, if that makes sense.
And later on, the staccato marks disappear. Am I correct in assuming that Chopin did what he usually does, and became a little lazy, and so should I still play those notes staccato?
My edition (Schirmer/Joseffy) has staccatos 72-75, does yours? (Not sure what later on means... )
In measure 103, tempo primo, Chopin marks Sempre forte. Does this sempre last until measure 110?
Yes, but there are some wonderful opportunities to pull back within measures 103-105, still being forte but creating some dynamic variation (and rubato! :p ) on those wonderful melodic chords.
In measure 111, I'm assuming that the grace notes in the left hand should be played AHEAD of the beat?
Yes
In the last measure, is that last note of the long scale of the previous measure played by the LEFT hand, because Chopin notated a rest in the right hand? Or should the right hand end the scale?
Left hand on the F#, giving your right hand a fighting chance on jumping up to the C# octave on time!!
And whoever responds, can you tell me what the pedaling is indicated in the last measure? I can never be satisfied with the sound of this simple, but GREAT ending.
I agree, the ending is great and IMHO one of the main reasons is to make those chords sound distinct and not muddy...
Here's how I do it, not the way my music shows:
Take a "breath" (pedal up) between the F# ending the long descent from previous measure, then no pedal on the 1st C# - F# but play them strongly so they ring, not a "pop" staccato.
Then pedal on - C# pedal off... pedal on - F# pedal on a tad longer for emphasis, then off (or forget the pedal entirely on F# and just hold the octaves).
Here's what my music says:
pedal down - F# pedal up C#'s pedal down F#'s pedal up C#'s pedal down F# pedal up on final rest...
Thanks in advance!!! I hope some of this is helpful... it's an absolutely wonderful piece, one of my favorites, and I never feel I do it justice. Nina
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Thanks, you did give me some insight on how others' interpretation of this piece.
Oh, and 72-75 ARE marked staccato for me, I'm talking about the passage after, where the staccato marks disappear. Does he still want them staccato, just not notating it, or does he change it?
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Piano
by Gino2 - 04/17/24 02:34 PM
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by Gino2 - 04/17/24 02:23 PM
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