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Topic: What did Chopin mean by "doppio movimento"?  (Read 197 times)

Offline mjames

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What did Chopin mean by "doppio movimento"?
on: August 17, 2025, 11:47:16 AM
It seems that even if you go as far back as early 20th century recordings, performing traditions for his op. 48 no.1 had already dictated that playing at twice the tempo was a suggestion to be almost completely ignored. Only a few notable pianists actually follow it to the letter, Argerich for example. Everyone else seems to play the doppio movimento not at twice the speed, but "slightly faster" instead, even established interpreters like Rubinstein do it. So what's the deal? Why does almost everyone do it? Even in piano competitions? Don't get me wrong, I prefer not playing it exactly twice the speed, but I just find it curious that the standard is to completely ignore Chopin's markings.

Have we all just collectively decided this is the best way to do it, or was the marking "doppio movimento" not meant to be taken literally; if it's the latter, I'm wondering if there's some scholarly material to back that up.

Offline dizzyfingers

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Re: What did Chopin mean by "doppio movimento"?
Reply #1 on: August 17, 2025, 01:16:36 PM
Have we all just collectively decided this is the best way to do it, or was the marking "doppio movimento" not meant to be taken literally; if it's the latter, I'm wondering if there's some scholarly material to back that up.

I'm no music historian, but why would you think Chopin was using this tempo indication with exactitude?  Since when do Chopin's tempo indications require a narrow interpretation?  I would guess that Chopin was saying "almost twice as fast" or "with a feeling of twice as fast".

You could research where else Chopin uses "doppio movimento" and what the performance practices are there.

Yes, "not to be taken literally", would be my vote.

Offline essence

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Re: What did Chopin mean by "doppio movimento"?
Reply #2 on: August 17, 2025, 01:22:14 PM
You may find this useful.

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Argerich does what Argerich does, Not a great fan, the antithesis to what is described above.

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Hofmann is the one to study carefully. Astonishing. Impossible to hold back tears. Not at all doppio movimento but the spirit is there.

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Listen to this

i=-Wr7xTep8ng5N10s

i find the Sofronistky the most passionate - he is comparable with Hofmann, but different.

Pollini is so insipid.

Note the last youtube vidoe i post has many performance.

I think focussing too much on the speed misses the point. It is the mood, which can be communicated at a variety of speeds.


 

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