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Joined: May 2005
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Originally Posted by Mark_C
While it's without what we might call the extreme outlyingness of those others, I find it extremely "note-y," in large part because of the slowness of the tempo but even within such a tempo, it would have been easily possible for it to be not nearly so note-y.
To me this aspect makes it sound like anything what Chopin could ever have sounded like. To me it's pretty anti-Chopin.
To me, the problem is not the slow tempo as much as the deliberate distortion of the rhythmic flow of the Nocturne's melodic line. The simplest way I can explain it is that the pianist frequently hangs on to upbeats and delays striking downbeats. It's like he is constantly hesitating. This becomes most evident to me when I simply listen to the recording rather than watch the video. When I view the video I am intrigued somewhat by the pianist's hand motions and facial expressions. Without those distractions, however, the interpretation itself seems unmusical and incongruent with Chopin's style.


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Originally Posted by Carey
To me, the problem is not the slow tempo as much as the deliberate distortion of the rhythmic flow of the Nocturne's melodic line. The simplest way I can explain it is that the pianist frequently hangs on to upbeats and delays striking downbeats. It's like he is constantly hesitating. This becomes most evident to me when I simply listen to the recording rather than watch the video. When I view the video I am intrigued somewhat by the pianist's hand motions and facial expressions. Without those distractions, however, the interpretation itself seems unmusical and incongruent with Chopin's style.

It is interesting how perception can vary. I see that the various delays and rubato actually shape the phrasing. With a very slow tempo like this one, it is necessary to let the flow breath a lot. This version of 62/2 reminds me of the unique version of Arrau. Arrau is darker and more dramatic and contrasted (probably also more nuanced), Pogorelich version is a long meditation. I think Chopin's style is likely what you are used to hear from most pianists which is also a more direct, rythmically aligned versions. But that is what makes his version different. I dont think you can say it is unmusical, personal certainly and unconventional. But as pianoloverus suggested one should forget all other versions, your own preferences and not try to find something that isnt there but just listen it for what it is. That said you can dislike it, thats why there are personalities.




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Originally Posted by Sidokar
Originally Posted by Carey
To me, the problem is not the slow tempo as much as the deliberate distortion of the rhythmic flow of the Nocturne's melodic line. The simplest way I can explain it is that the pianist frequently hangs on to upbeats and delays striking downbeats. It's like he is constantly hesitating. This becomes most evident to me when I simply listen to the recording rather than watch the video. When I view the video I am intrigued somewhat by the pianist's hand motions and facial expressions. Without those distractions, however, the interpretation itself seems unmusical and incongruent with Chopin's style.
It is interesting how perception can vary. I see that the various delays and rubato actually shape the phrasing. With a very slow tempo like this one, it is necessary to let the flow breath a lot. This version of 62/2 reminds me of the unique version of Arrau. Arrau is darker and more dramatic and contrasted (probably also more nuanced), Pogorelich version is a long meditation. I think Chopin's style is likely what you are used to hear from most pianists which is also a more direct, rythmically aligned versions. But that is what makes his version different. I dont think you can say it is unmusical, personal certainly and unconventional. But as pianoloverus suggested one should forget all other versions, your own preferences and not try to find something that isnt there but just listen it for what it is. That said you can dislike it, thats why there are personalities.
Thank you for this additional perspective.


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I heard the 3rd sonata on the radio today. The trio of the Scherzo is something quite unique, to be honest: crazy. The Largo is even madder. The finale is ok-ish but that's not good enough, short: what a strange interpretation, not to my liking at all, it's time for Pogo to get down to earth again (was he ever here?) and not play the eccentric anymore unless he wants to get hosed down by critics and he simply doesn't mind, I just can't understand, it's probably my fault.


Longtemps, je me suis couché de bonne heure, but not anymore!
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