Chopin's Op.72, No. 1
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Being one of his opus posthumous Nocturnes, it's also one I'm learning.
I absolutely love this recording by Pachmann from 1927. I suspect he'd take a bit of flak from today's musicologists for playing it this way. No matter, I think it's sublime. Thee rubato is really something. No subtle effects here!
According to Chopin Review, ...
Vladimir de Pachmann’s 1927 recording of Chopin’s Nocturne in E minor, Op. 72 No. 1 testifies to a temperament in which different triads have different qualities, timbres differ depending on the different relationships between overtones, Chopin seems to be intentionally milking these differences, and the subtleties of his music seem to multiply a thousandfold.
Very interesting.
Link to video -
Being one of his opus posthumous Nocturnes, it's also one I'm learning.
I absolutely love this recording by Pachmann from 1927. I suspect he'd take a bit of flak from today's musicologists for playing it this way. No matter, I think it's sublime. Thee rubato is really something. No subtle effects here!
According to Chopin Review, ...
Vladimir de Pachmann’s 1927 recording of Chopin’s Nocturne in E minor, Op. 72 No. 1 testifies to a temperament in which different triads have different qualities, timbres differ depending on the different relationships between overtones, Chopin seems to be intentionally milking these differences, and the subtleties of his music seem to multiply a thousandfold.
Very interesting.
Link to video@bernard that's lovely!!
@Bernard said in Chopin's Op.72, No. 1:
I suspect he'd take a bit of flak from today's musicologists for playing it this way.
I don't know a lot about what would be expected. What aspects of his interpretation do you think would be the most disagreed with?
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@bernard that's lovely!!
@Bernard said in Chopin's Op.72, No. 1:
I suspect he'd take a bit of flak from today's musicologists for playing it this way.
I don't know a lot about what would be expected. What aspects of his interpretation do you think would be the most disagreed with?
@ShiroKuro I shouldn't generalize. Some, I think, would have something to say about the rubato. Although I must say, I'm struggling with the topic right now. I thought I understood it, but last semester's class had me seriously questioning if I really did. Some of Pachmann's right hand entrances are almost half a beat behind! (But I like what he does.) His left hand is generally kind of steady, but even it speeds up and slows down now and then.
It seems to me I took some questions in class for using rubato and some discussions ensued. The teacher wanted to emphasize that the left hand must always remain steady. (But I've since read that there were two types of rubato in use during Chopin's time, and in the newer style both hands could be free, within reason I'd imagine.)
The confusing thing, though, was the day he said he'd play the melody on one piano while I played the left hand. Well! His rubato was far more--a lot more--than what I'd originally played! But he said to take rubato at the beginnings and ends of measures, generally not mid-measure.
So now I'm feeling a little bit confused. It could be that my rubato was too improvised, so to say, rather than planned, and that could have made it unclear. I'm proceeding cautiously until it gets clearer.
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I think the recording is beautiful. By the way, have you seen that video where Seymour Bernstein argues that “hairpins” in Chopin and Brahms might mean rubato instead of crescendo and diminuendo? Head-exploding!
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I think the recording is beautiful. By the way, have you seen that video where Seymour Bernstein argues that “hairpins” in Chopin and Brahms might mean rubato instead of crescendo and diminuendo? Head-exploding!
@RealPlayer I'm not sure it's the same video (it might be!), but I've seen something similar.
