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Topic: Nocturne Op. 27 No.2 (Chopin)  (Read 1170 times)

Offline schwartzer

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Nocturne Op. 27 No.2 (Chopin)
on: February 25, 2014, 01:49:45 AM
How does this piece compare, in terms of difficulty, to Clair de Lune and his 2nd Nocturne in Eb?

Offline cabbynum

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Re: Nocturne Op. 27 No.2 (Chopin)
Reply #1 on: February 25, 2014, 01:56:27 AM
How does this piece compare, in terms of difficulty, to Clair de Lune and his 2nd Nocturne in Eb?


Just gonna go ahead and say it's too hard for you.


But if you love it, go for it.
Just here to lurk and cringe at my old posts now.

Offline schwartzer

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Re: Nocturne Op. 27 No.2 (Chopin)
Reply #2 on: February 25, 2014, 01:59:02 AM
Is it really?

I'm saying this because I'm looking to learn 2 songs at the same time.

Already got to the final part of the C section from his Military Polonaise. And I this is my favorite nocturne, but don't want to really learn it and completely butcher it on performances.

Offline quantum

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Re: Nocturne Op. 27 No.2 (Chopin)
Reply #3 on: February 25, 2014, 03:25:00 AM
Sight read through parts of it.  Not just the beginning.  Pick sections throughout the piece, especially those that you think may be challenging for you.  It will give you a better picture if you are ready for it. 
Made a Liszt. Need new Handel's for Soler panel & Alkan foil. Will Faure Stein on the way to pick up Mendels' sohn. Josquin get Wolfgangs Schu with Clara. Gone Chopin, I'll be Bach

Offline cabbynum

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Re: Nocturne Op. 27 No.2 (Chopin)
Reply #4 on: February 25, 2014, 03:28:32 AM
Sight read through parts of it.  Not just the beginning.  Pick sections throughout the piece, especially those that you think may be challenging for you.  It will give you a better picture if you are ready for it. 

Do this!


Also it might be better to wait and perform it later and pick an easier nocturne. Maybe op.55 no.1? Or really any other one except op.48 no.1 that one is harder than 27 2

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Women and the Chopin Competition: Breaking Barriers in Classical Music

The piano, a sleek monument of polished wood and ivory keys, holds a curious, often paradoxical, position in music history, especially for women. While offering a crucial outlet for female expression in societies where opportunities were often limited, it also became a stage for complex gender dynamics, sometimes subtle, sometimes stark. From drawing-room whispers in the 19th century to the thunderous applause of today’s concert halls, the story of women and the piano is a narrative woven with threads of remarkable progress and stubbornly persistent challenges. Read more
 

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