F. Chopin Nokturn c-moll op. 48 nr 1 (piano: Nelson Goerner)

[@rubensiedner4584]

This is perhaps the most difficult nocturne to interpret, because it's the most "romantic", most dramatic and most erotic one. The impact and the message are immense. One needs to control his/her technique and brain-acitivity every instant of a second, otherwise you destroy the entire magic of this piece, including the foreplay, the prayer-section and the building up of the climax. For instance: the left hand accents in bars 10/11, 12/13, 13/14, 17/18 (marked staccato but not sforzzando) and later again similarly, are too accentuated and should by no means played forte. The crescendo is being started too early. The agitato is marked "pp" as to give a sensation of the Mediterrenean odour which sustains the emotional aspect of the piece; but the pianissimo is ignored. There is, though, a lot ahead of Nelson Goerner. Arthur Rubinstein was yet much more life-experienced and his eternal layout of these masterpieces are a phenomenon beyond comparison. Brao to Nelson newvertheless! Ruben Siedner

[@daphnis93]

Pourquoi des avis si négatifs sur les instruments anciens? J'y ai quant à moi redécouvert complètement mon Chopin!! Le piano moderne a certes des qualités de justesse, de brillance (dans l'aigu surtout) , de puissance sans doute supérieures mais si vous oubliez tout cela vous entendrez sur ce Pleyel (ou les Erard utilisés à la même époque) des basses éloquentes, profondes, des possibilités de rondeurs, de perlé, et surtout une émotion propre à ces sonorités d'un autre âge...

[@pianoenthusiast11]

nelson goerner is probably my favourite pianist concertising at the moment...a really wonderful pianist..but i hope he doesn't use period instruments again... much as i like him i never see the point of period instruments..after all, if chopin had been around today he would have used the best piano possible!

[@CaradhrasAiguo49]

@adam bechstein what Chopin or any composer who died before cross-stringed (ugh!) pianos became mainstream would think of our modern instruments is IMO irrelevant to the craftsmanship and meaning of the music itself.