Chopin Nocturne op.48 #1 - General Info, Tips, Etc.

[chopiabin]

This nocturne is one of my favorite pieces by Chopin - it's almost funereal 1st movement and the clever recapitulation of that theme in the wildly despairing climax always sends chills up my spine. 

I am currently polishing this piece back up to snuff after neglecting it for a few years, and I plan to include it as a dramatic opening for a much larger, and, for me anyway, very ambitious program that will also include: Chopin - op.10#1, op.25#12, Ballade#3 in Ab; Rachmaninov prelude in B minor op.32#10; and Scriabin etude in C#minor op.2#1.

I was surprised by the dearth of information on this piece despite searching the archives of the forum and decided to start a general discussion topic.

In particular I would love to get some background info on this incredible piece, people's opinions on its significance, performance tips, and info on any particularly good recordings of it.

I have heard performances by Pletnev, Moravec, Arrau, Argerich, and Rubinstein – Rubinstein FAR outshone the others, especially in the doppio movimiento where his voicing is almost unbelievable – the melody is never lost amid the constant tangle of chords.

Would LOVE to read any comments, suggestions, or tips

Thanks, Chop

[chopiabin]

Really? No one has anything to say about this piece?

[pocho]

Hmm, didn't see this thread. Sorry.

I'm not really good at giving tips or advice about pieces, but I can tell you, the piece is hard.

It seems you have a lot of experience, so you should not have much problems with the first part. In the second, practice the fast octaves slowly first, and keep increasing your tempo as you go on. One thing to note in the doppio part is that you don't have to play the chords that fast. People get the misconception that since it's marked 'agitato' you have to hit them really fast. Play them in a sort of low andante, and keep them soft, keeping them in the background, and bring the top melody a bit sad, not angry. I don't know how you can bring more strength to you 5th and 4th fingers though. Maybe by lifting your forearm.

[markh13]

In particular I would love to get some background info on this incredible piece, people's opinions on its significance, performance tips, and info on any particularly good recordings of it.

I have heard performances by Pletnev, Moravec, Arrau, Argerich, and Rubinstein – Rubinstein FAR outshone the others, especially in the doppio movimiento where his voicing is almost unbelievable – the melody is never lost amid the constant tangle of chords.

An old post, but hopefully there is still an interest in discussing this...

Like you, I love this piece, and have just started working on it... No tips as yet, except starting with the 3rd doppio movimento section and taking it apart... Also 2 against 3 is interesting in this section, as the 2nd note of the 2 is shown lined up with the 3rd note of the 3 (rather than in-between the 2nd and 3rd note as you would expect).

Playing it as notated seems less musical to me, but is a LOT easier! I'm persevering with trying to play it 'right', but may have to give up on that when I put it all together...

As for recordings, there's lots on YouTube, but not many that I really love... Gilels is sublime in first 2 sections, but loses it in the doppio movimento, Sofronitsky is also great, although not such a clear recording. The one recording that does stand out is Myra Hess - again not great sound quality, but her interpretation is like no other, immensely musical with great poetry.

[ahinton]

You mention pianists whom you have heard paying this fine piece; do try to listen to it played by Stevenson on a mixed recital disc on the Altarus label entitled Cathedrals in sound (AIR-CD-9043).

Best,

Alistair

[j_menz]

a mixed recital disc on the Altarus label

Is that a faint whiff of processed meat(like substance) I smell frying? 

[ahinton]

Is that a faint whiff of processed meat(like substance) I smell frying? 

Sorry - je ne comprends pas; why might it be so?

Best,

Alistair

[j_menz]

Sorry - je ne comprends pas; why might it be so?

Best,

Alistair

I had understood you to be connected to Altarus. My apologies if that's not correct.

Nor do I suggest Stevenson's version not to be very much worth a listen.

[ahinton]

I had understood you to be connected to Altarus. My apologies if that's not correct.

Nor do I suggest Stevenson's version not to be very much worth a listen.

Even if I were, I still don't understand your remark but not to worry; three of my works are recorded on that label and, of course, a large number of Sorabji's are as well.

Best,

Alistair

[markh13]

Thanks Alistair, I will try and track down that version.

Best,

Mark

[ahinton]

Thanks Alistair, I will try and track down that version.

Best,

Mark

You're welcome. It's available from The Sorabji Archive, by the way (email to sorabji-archive@lineone.net); the disc includes a stunning performance of one of Sorabji's shortest piano works, Fantasiettina.

Best,

Alistair