Chopin Nocturne c# minor op. posth.

[eoghan]

This is my first ever post to this forum.
The posthumously published  nocturne in c sharp by Chopin divides listeners into 2 categories - those who think it does the composer no service at all to play it, and those who see beauty in it which makes it a worthwhile piece. I subscribe to  the second group.
This performance was done on my upright Schimmel piano (builr in 1989). I used an Audio Technica mic. into a Teac DAT recorder.
I find it an enjoyable work to play (and to listen to).
 

[cygnusdei]

I like your performance - it's got 'common sense', which sadly is lacking in many a great performer! By common sense I mean judicious tempo, rubato, phrasing, dynamics, etc. So, congrats!

This piece is textually problematic, though. Apparently there are multiple sources with tiny varations in harmony and melody, although the ones I have seen in print (the Mikuli edition and the recent Henle Urtext) have excellent agreement, if not 100%. So I'm not sure where these other texts come from. Eoghan, it would be a huge service to us if you would post your music score. The version you play seems like an often-played 'variation' to the Mikuli, but it's got ever small differences in itself, e.g. the unusual ornamentation (D# E) to the melody (F#) in measure 10, which is later repeated when the theme returns.

The biggest problem with tempo, textually, also lies in the passage in 3/4, which is a quotation of Concerto no. 2. If we keep the time value for each quaver, you are definitely playing the passage faster than a tempo! However, playing it in tempo would defy the playful character of the passage. I have heard it played fast, as in the Concerto. But there is no indication of tempo change in the text!

Another suggestion - upon return of the first theme your dynamics could be shaped more effectively, i.e., start with pp, not f.

[eoghan]

Thanks Cygnusdei for your comments. I have looked at a number of scores of this piece and found many variations of notes, dynamics, phrasing  and harmony. I have also listened to a number of recordings by prominent players, and have heard even more variations to the piece! So there are obviously many editions around. The edition I used when learning it is a special edition edited by Polish pianist Stefan Askenase, a player I admire, which was published in 1969. The score reads "No. 496  Edition Heuwekemeijer, Amsterdam". I also used the Polish Paderewski edition. I think my version combines elements from both.
Re the quotation from the finale of the 2nd concerto, the A major section, this is marked "allegretto" in the Askenase version.
Yes I agree about the return of the theme, the first 2 bars  should of course start quiter -I realised this just before posting the file, and you have correctly picked that up.
Your feedback is appreciated.