I´m preparing the three Nocturnes of op. 15. After I have recently recorded op. 15, no. 1, here follows now the number two in f-sharp-major.
This is a very interesting and speaking piece from my view, with much beautiful rhetoric and clever ideas.

I´m playing this piece also on youtube, if you like to watch, click here, please:
http://www.youtube.com/watch?v=h01xZldm ... annel_page

I´m very interested in your comments. The mp3-file is as always the sound-track of my video.

Chopin - Nocturne in F-sharp major, Op. 15, no. 2

Yay - no more sweater! Not that there was anything wrong with it, but I'm glad to see short sleeves, because it means that warmer weather really is here.

I have recorded this nocturne also, Andreas. And video recorded it too. It's the only video I have on the site.

We both play this piece quite differently. I take it a lot slower than you. And I guess I must also ignore every staccato because I play it mostly legato all the time. So hearing you play with more detached notes sounds a little strange to me. But I'm sure you are playing it more accurately. I just prefer a smooth, gentle tone all over this one. Fun to hear the difference between the two, though.

It's on the site.

Hi MOnica,
thank you very much for to have put this up.

Pianolady wrote:


Yes, first I wanted to wear a pullover again, but then I remembered your words to my last video, so, I pulled out my pullover and played in my shirt.



Yes, fun to hear the difference between the two, Monica. There are many pianists, who take the A-part slower than quarter=40, which is prescribed by Chopin. I also do play it a little bit slower, but I wanted to come as near to Chopin´s intention as possible. In spite of the higher tempo I do as much expression (like dynamics, articulation and rubati) as possible (for me). For this higher tempo of the A-part I can´t play the B-part as a true "doppio movimento" like it is prescribed in the score, but also here I try to come as close as possible to "doppio movimento". I find to be the articulation (like staccato-prescriptions, legato-bows and others) very important in this piece, because it becomes more like a lively speaking or speech (also with funny and very eloquent moments). I´m quite sure, that´s what Chopin must have intended with this piece. Why has he written all this prescriptions of articulation in his score, if he would have wanted a throughout smooth and legato sound? (So, at least it´s, what I see in the structure of this music.)
But I enjoyed your version very much, Monica, in summary a good, solid and note-perfect playing (that´s the main-thing, all the rest is just a matter of interpretation), and what a very very nice video-performance with all the candle-lights, your elegant dress and your likeable little smile, when the piece is finished. I think, you were glad and satisfied, when the recording was finished, isn´t it?
(BTW, I remember still to have watched this video then and I´m sure, that I have commented on it. So, I do hope, not to repeat myself. )

You are right about following all the markings in the score. And I am usually one who points out these kinds of things to everyone else! In this case, I really have no good excuse as to why I did not follow every staccato or rest. Only that I had a certain fantasy running through my mind when I played this piece, and it dictated that I play slowly and romantically.



Don’t worry – I forget half the things people tell me , so it is not a repeated sentiment.

Pianolady wrote:


You really do this very nicely and convincingly. But is it a discrepance for you to play with different articulation and romantically? For me it´s not, if you do this in an individual way, with personal dynamics and rubati and so on...(I don´t want to convince you of my opinion, it´s just a thought of me.)

Pianolady wrote:


So, you are better than me!

Hi Andreas,

Your playing is excellent as usual, and you truly bring out the soul of this nocturne. One of the things that I most enjoyed was your execution of the frequent ornamentation and small-note figurations. You play them all with amazing precision, with appropriate touches and close attention to dynamics, and in a totally seamless and unintrusive way. So they always "fit in" beautifully. I envy your dexterity. Also in the doppio movimento section, you handle the melody against the accompaniment, all within the right hand, very skillfully. A wonderful rendition!

David

Hi David,
I´m very happy about your nice and encouraging comment. Coming from such an excellent "blooded-pianist" like you (I truely hope to have found the right english expression here, in german: "Vollblut-Pianist", meaning a true pianist by all his personality) it means very much to me.
Indeed, I have worked very hard on all these embellishments and articulations, though I have to admit, that I´ve worked on this piece still during my year of studies (in the 90th) by Prof. Oldemeyer. He gave me all these excellent tips how to execute the embellishments and articulations. I really owe him very much and sometimes I´m missing this rich time of piano-lessons with him. To have meat him was one of my greatest luck, I think.
Now I´m doing my own interpretations, but I´m still thinking a lot of the kind of inspirations he gave to me. And that´s a rich present for the whole life. The main-matter he teached me is to develop my own thoughts and creativity and to try to re-compose the pieces, to analyse the structure of the pieces as profoundly as possible and to interpret it and on this base to develop an individual interpretation of my own.

Thank you for your kind comment, David!

bravo herr andreas!!

i wish you played a little more forcibly ("con fuoco") at 1:40 and a tad slower to emphasize that climatic part of the nocturne

But that is only minor and an insignificant comment on my amateur and ignorant behalf.

Peace
-jg

Excellent playing Andreas.

You have great technical facility.

I note your comments regarding the articulation. I'm used to a little more pedal on the staccato notes and perhaps a bit more relaxation in some places but I understand what you are saying as to why did Chopin bother putting them in if he didn't mean them.

Thank you very much.

Mark

MarkB wrote:


Thank you for your kind comment, Mark!



One often or normally hears it like that.



Yes, you now, I´m certainly not a "normal" pianist and don´t want to be one, but I´m always searching for an adequate interpretation and I think, I have found one.

Thanks once more for your kind interest.

Cheers
Andreas

Dear Andreas, Considering you began with playing the guitar, I must say once again you are now a wonderful pianist with excellent technical and musical facilities. As to some of the Chopin Nocturnes
let me say, I listened to them with great interest and admiration though it seems to me some of them sound a bit matter of fact; they could do with certain touch of wistful soul. Your performances are always thoroughly reliable - small wonder you as you recorded the Wohltemperiertes Klavier!
I also want to thank you for scanning my intermezzi and sending them to techneut: much trouble.-
I am much looking forward to your next rercordings. Good luck! Franz.-

Thank you for your valuable and highly appreciated comment, Franz. From you as my former teacher who knows me since I´m 11 years old they mean very much to me.

So, thank you for your praise, but also for your advice concerning the expression. I´m working on this sound of "whistful soul". You are absolutely right, that this is the essential expression, which most of the Chopin-pieces should have.

Don´t mention the scanning, it was a pleasure for me to do this for you and I´m very happy, that Chris wants to play them.