Here are some comments that I hope will stimulate you as you advance to “the next level” with this wonderful Grieg Nocturne. Let me know if these comments turn out to be useful. [I am using specific technical method in constructing these comments, so very interested to find out if the result is useful to you]
[1] I think of this Nocturne as a poetic work that is a tremendous stimulation to the listener’s imagination. Some words that I associate with it: “spacious”, “spatial”, “vast space”, “vast motions and curvatures”, “arcs within even larger and larger arcs”, “distortions of time; time almost stands still”; “emotional”; “gentle pulsations which are felt more than heard”; “broad sweeps of energy and sound. ppp to FF”; “the rhythms and pulses are relaxed. Not metronomic. They are like what you experience in dance or in the recitation of great poetry”; “darkness; birds; melody”; “long, even vast silences”.; “broad sonic range from high to low, soft to loud”; “topological”; “the harmonics are somewhat like mid-century jazz, think Bill Evans”; “beauty and proportion”. I am providing the above language not as poetic balderdash, but because I think that some of this may help you to shape and organize the performance in a way that is more fully responsive to your own conception of the work.
Now for some nuts and bolts:
[2] mm 1 – 4: Splendid! And congratulations for deciding to play B, Bb with your right-hand (cross-handed). This enables you to get the sound “just right”. The score that I have doesn’t suggest your strategy, but I think you are a real artist for doing this. Art is more important than rules or “the score”.
I hear perfect proportions, and the long arc. And the total sound hangs in the air. That’s the poetry!
[3] mm 5 – 14: Lumpy. You are paying too much attention to the “2 against 3”. You are just learning the work, so this preoccupation is understandable. Goal: The broken triplets in the left hand should be as quiet as possible; they should be felt more than heard, ideally (not easy). And the melody should have a life of its own. After you are comfortable with the mechanics, don’t worry about the exact arithmetic of 2 against 3.
Also: I would commit sacrilege and recompose all chords in mm 9 –13 so that they are played with the left hand only. It will be much much easier to play naturally. If you play it beautifully, Grieg will forgive. (Some pedantic musician will probably get mad, but who cares, this is ART not bureaucracy!!)
[4] Play up the contrast in dynamics (which is one factor in the emotionality)
[5] As for rubato and all that, I suggest the following: [a] Try dancing to it like a ballerina (do this when nobody is looking, please) Read some good poetry (try Henry Vaughan “The World”, or Yeats or ...) Write a few of your own words for the music, to help you get a feel for the “natural rhythm” of the work. Use [a] and to gradually transition from metronomic playing to a more natural declamation. I can hear that you are starting to do this already. What I am suggesting is a little different from what is officially called “rubato”. In my experience, true rubato is rather strict and can sound a little weird. But if your guide is dance and great poetry, you will sound good (and true to the mathematics of the work).
[6] If I have a little time, I will do a recording of Part1 myself and post it. That may make some of my comments more tangible.
[7] Play as slowly as you like !
Topic: Grieg Op.54 No.4 Nocturne WIP, Diary, 18.05.2016