Chopin: Nocturne in c minor Op. 48 #1

[quixoticcafe]

This is probably the crown jewel of all the Nocturnes and when I first heard the
"Doppio Movimento" section I wept bitterly and felt like I was being pushed over the edge! I bought a recording with Idil Biret on Naxos, and she does such an oustanding job in that section bringing out the main theme over the clamor and pathos of the accompaniment. (I'm sure there are more famous, well-known pianists who do an equally or succeeding job too.) Anyway after much thought and respect for this incredible piece, I think I am going to venture to learn it.  I realize that this is probably one of the most difficult pieces to interpret  and I am approaching this task knowing how weighty all of this truly is. Once polished and perfected I can only imagine the emotional fortitude one must have to hold one's self together in a performance. 

I would love to hear some comments from all of you who have played it. Your technical suggestions and impressions would be invaluable to me.

[zemos]

Well, I don't know how's your technique, but as hard as this piece my sound, it's much easier! You're right, this is the most beautiful nocturne of all in my opinion too.
I say, give it a try! I've played it last year. It's lots of practice, but it worthwhile!
Good luck!

[Awakening]

Having never played the piece, take my advice with a grain of salt. 

Nevertheless, what I would do is listen to as many recordings of this piece as you can.  Figure out which interpretation you like best, and consider every aspect of every performance.  Sometimes we don't realize how beautiful something can be until it is shown to us.  When you hear something beautiful on a recording, you will strive to emulate it in your playing without noticing.  As talented and creative of a pianist as you may be, there are always others who did it first, and you can learn from them by trying to make yours sound like theirs.  Don't get me wrong--it's important to let your soul truly drive you through the interpretation of the piece, but if you just try to play it before listening to the way it could sound, you might be missing out on a lot of musical ideas that weren't obvious to you as you practiced the score.  From a standpoint of musical expression, that is how I would approach this (or any) piece. 

As for the technical difficulties, I have no idea.  Study up on your scales, arpeggios, make sure you can play it slowly first, practice hands together if necessary.  Record yourself, use a metronome, have others give advice, work backwards if you feel the need, scribble all over the score with notes to yourself, take into account any markings made by the publisher, decide whether you want to follow these instructions...go from there.  All rules of thumb when playing a piece, I guess.  Sorry I couldn't be more help.

[pianopoet]

Hi...! If you are interested in hearinga recording of the nocturne which, in my opinion, is one fo the miracles of modern recording, it HAS to be Martha Argerich's Live recording of it from the Concertgebouw. She treats it as a ballad which is understandable as it is the most significant and poignant of the nocturnes. Her tone is velvety, technique is ASTOUNDING (just listen to the descending octaves of the climax section), her rubato is spine chillingly original and her doppio movimento is wonderfully agitated (as Chopin intended it to be). I consider it to be one of the best recordings she has made! Another good option is Pletnev. He does not shock with weird antics but rather impresses with a tone that melts one's heart! His climax reminds me of a full Russian orchestra blasting their hearts out. Nevertheless, whatever you do, play it like you want to play it and as I always say with the nocturnes, TONE IS EVERYTHING!

[mosis]

and when I first heard the
"Doppio Movimento" section I wept bitterly and felt like I was being pushed over the edge!

I agree with you wholeheartedly. That melody is the most painful and sorrowful of any nocturne. Brings a lump to my throat everytime I hear it.

[Barbosa-piano]

            I think, would be a good idea to hear diferent performances in recordings, and I  suggest that you listen to Guiomar Novaes' recording of this piece, she is an outstanding Brazilian pianist. I believe, the most difficult part is memorizing the left hand part on the Doppio Movimento, because I think memorizing the movement helps you play the section more fluently. I suggest the training of the rapid octave passage, with wrist strokes, and with a very well defined Crescendo. After each roll of octaves there are heavy chords, witch I suggest memorizing and getting the hands adapted to those, because they require different hand positions at fast changes. And I also suggest the enphasis of well sustained notes in the first two tempos. It is an all around beautiful piece, and it is worth practicing it. If you practice it for about one hour it can make you tired easely, but this is a piece that really satisfies with its beatiful melody.
                                                     
                                        Good practice!