Interpreting Nocturne in C sharp minor Op. 27 No. 1?

[magic_sonata]

Hello all,

I have had this piece 'in my fingers' for around one month now. It is up to tempo with basic dynamics, phrasing, articulation, etc. As I approach the final stages of preparation for my summer concert, I have found connecting emotionally to this piece somewhat of a challenge. I have been listening to recordings, as well as adding my own technical and contrasting touches, but I still feel as though I haven't truly 'understood' the piece in a way that I can identify the emotion that Chopin conveyed dramatically through this piece.

So, my question. What are some ways for me to connect to the piece more and how can I work on my interpretation (hence, improving dynamic contrast and overall depth)?

Thank you,

magic_sonata

[awesom_o]

It's a difficult situation: in order to connect to it more, you have to play it better, but in order to play it better, you must connect to it more.

Without hearing you play it myself, of course I cannot give you detailed or specific advice. Two things, however, I can say for certain which will help. Firstly, on the subject of depth. Brendel writes that we must think of depth as an actual, three-dimensional space. The greatest pianists understand this, and create marvelous quality of tone that constantly reflects this understanding, regardless of the music they play.

Secondly, on the subject of working on your interpretation. Make videos of yourself. Watch them, score in hand. Reflect on the work you have done, and repeat the process. When you have done that and feel ready, post your performance here. You will get different opinions, some maybe good, some maybe not so good, but at least you'll have ideas to work on and/or with.

[amytsuda]

My favorite Nocturne! I wish I am good enough to help you, but I am horrible at it. However, I just thought to share what my pianist friend told me, actually when I played this exact Nocturne for her asking what can I do with my horrible playing.

She said she would research when Chopin wrote the piece, in what state of his mind, what he was experimenting at that time musically, and what other pieces he wrote at the same time period. And she would play them all.

[iansinclair]

One of my favourites, too -- and it is often regarded as the greatest of the Nocturnes for the scope and depth of feeling which is in it.

Not to be discouraging, but I have been playing it as part of my standard repertoire for a couple of decades now -- and my interpretation and feelings change from time to time (and, I think, keep growing and deepening -- at least I hope so).  So don't feel too badly that it's taking you time to connect to the piece -- one month isn't that long.

For me there is a sense of sadness and loss and even perhaps despair in the little main melody (which keeps coming back and back).  Then real anxiety in the beginning of the B section, which I start half again as fast as the previous A section, and very very quietly, building to even faster and FF at the sequence just before the switch to D flat major, which is like a brilliant ray of sun -- but then returns to the initial feeling -- with an edge of real disappointment -- after the cadenza.  But... but... the sequence and shift into C sharp major at the end brings resolution and peace.

Or at least that's what I'm seeing in it today!  Ask me again next week...

[pianoman53]

Maybe you could try to just listen in your head, while reading? When I feel that I don't connect, that usually works for me. To listen to other recording, rather makes it worse. Then I just feel how well everyone else plays it...

So my suggestion would be, as I said, to read it away from the piano. You'll hear things that you don't hear while you play it.

[awesom_o]

Maybe you could try to just listen in your head, while reading?

So my suggestion would be, as I said, to read it away from the piano. You'll hear things that you don't hear while you play it.

This is always a good way to refine an interpretation.

[nanabush]

It's a difficult situation: in order to connect to it more, you have to play it better, but in order to play it better, you must connect to it more.

That's the vicious cycle I hate haha.  Some pieces have a hard shell to crack, and you just have to keep at it.