Piano World Home Page Forums Fun Stuff! - Parties, Tours, Projects & More... Member Recordings Chopin - Nocturne Op 48 No 1 in C minor

Of course, I didn't mean they couldn't do mistakes, only that in this case, as BruceD mentioned, it is unlikely that their approach to this specific section with quavers and triplets was unintended, in my opinion. (That way it can't be further argued ).

I did not misread the score. I actually played 2 over 3 at one time, but I was told that's not how it's supposed to be played.

If you look at some other 2 vs 3 from other Chopin compositions, for example the Piu mosso section of Nocturne 27/1, or Nocturne 32/2, you will see that the second note of the RH is clearly written in between 2nd and 3rd of the LH triplets. Unlike those 2 over 3, in this 48/1, the 2nd of the RH is written precisely above the 3rd note of the LH. I have a recording of Pollini playing this piece at 1960 Chopin, and he played the RH together with LH triplets. If that's a big error, then the judges misread the score too?

I can't find my Rubinstein CD, but so far, I have Ashkenazy (2nd in Chopin competition), T'song (3rd), Pollini (1st), Dang (1st), from the youtube video - Lim (3rd), and they all play the RH together with LH triplets. If that's wrong, then they misread the score, their teachers misread the score, and the judges at those comps misread the score also.

I realize you haven't misread the score.
Rubenstein, Ashkenazy, and Pollini have all made a conscious choice regarding how they wish to play the doppio movimento.
I prefer the melody to be set against the triplets, as it appears in my score. The notes are not clearly written in between the 2nd and 3rd note of the triplets as they are in other Nocturnes, but they are NOT triplets. However, Chopin never set this piece to type. He wrote it out on manuscript. Whoever typeset the C- Nocturne can be credited with the original misreading of the score.
I realize it is almost always played how your teacher told you to play it.
Your interpretation is perfectly legit, as are those of Ashkenazy and Rubinstein.
I prefer the cross rhythm and will continue to play it that way no matter who tells me otherwise. Except perhaps for Chopin 2010...
When in Rome.....

I'm just a poor amateur pianist with little or no 'professional' training but I have 'learned' to play the Op 48 No1 of Chopin and I notice that my score (Alfreds Masterwork Ed)has the rt hand 8ths in the 1st measure of the Doppio as triplets and learned to play them that way Also (surprise, surprise ) I've only heard this piece played by concert pianist once many years ago when I was a kid and before I could even play myself so certainly did not recognise this 'anomally' at that time
I find it very refreshing to read such a wealth of information and thank all concerned although I think it too late in the day for me to correct my playing of this wonderful piece
Incedently, I read somewhere that Chopin never meant his compositions to be played at all in a 'romantic' style whereas many professional pianist play his works that way ?

Liszt addict - I have to say this is the most beautiful interpretation I ‘vet heard for this Nocturne. Your touch is outstandingly beautiful and your recording is very professional. I enjoyed listening to your recording and I have it in my Ipod now. Thanks for sharing.

Beautifull playing - maybe just pay more attention to the melody in the last section. Also, some dryness noticed - maybe just a touch more pedal to avoid decay.

I also agree with your reading of the last section - let it freely flow!

I enjoyed it, but the 1st half, IMHO, is too slow for my liking. Makes the piece sound... well,... not as interesting as it could be.

You play it well, but I'd like more life in the 1st half. The 2nd half is like the piece just woke up. I really enjoyed the 2nd half!

Keep up the good work!

A very excellent rendition - a joy to my ear!

Thank you for sharing it
Glen

Your interpretation of this piece of beautiful. The way you played the first part is deceivingly difficult. At first hearing it seems as though there's little emotion or difficulty in it, but I trust your interpretation; if the first section was dramatic, the later sections wouldn't be surprising. It's subtle at the more technical spots and deliberate especially at the end of the first section. My only complaint is the last measure of the first section with the triplets: it feels rushed; it doesn't fit with how you play the surrounding measures (I'm not saying I don't like it, I'm sure you have a reason for it).
Your interpretation is very cohesive; great job with the transitions. I'm at a loss for words when it comes to playing or listening to this piece.

This is the 1st time I listened to this piece, and I really enjoy it. I like how you handle the accompaniment. Very clear and firm sound. The melody of the main theme is very haunting. I can't help but sing along with the music Thanks for sharing!