Nocturnes- I

Nocturnes The nocturne is generally credited to John Field, an Irish composer and pianist, who published his first three nocturnes in 1814. These romantic character pieces are written in a somewhat melancholy style, with an expressive, dreamy melody over broken-chord accompaniment. The majority of Chopin’s nocturnes adopt a simple A-B-A form. The A part is usually in a dreamy bel canto style, whereas the B part is of a more dramatic content. In distinction of melody, wealth of harmony and originality of piano style, Chopin’s nocturnes leave Field’s far behind. The similarity of Chopin’s nocturnes to Bellini’s cavatinas (such as Casta diva from Norma) has often been noticed, though there is little evidence of direct influence in either direction.

We have seen the shy, serenely tender emotions which Field charged them to interpret, supplanted by strange and foreign effects. Only one genius possessed himself of this style, lending to it all the movement and ardour of which it was susceptible. Chopin, in his poetic Nocturnes, sang not only the harmonies which are the source of our most ineffable delights, but likewise the restless, agitating bewilderment to which they often give rise.
- Franz Liszt

Nocturne in B-flat Minor, Op. 9 No. 1 — Larghetto
The first of Chopin’s works to be published in France, Germany and England were these nocturnes (Op. 9), which appeared over the period of December 1832 to June 1833. They were composed—in part—in Vienna and completed in Paris. This first work immediately confirms the character of the nocturne. The irregularity of the rhythmic patterns is one aspect of Chopin’s style of ornamentation that continues to find varied expression in later works such as Op. 27 No. 2. This piece was composed in 1830/1832 and published in 1832/1833; it is dedicated to Marie Pleyel, the wife of publisher and virtuoso pianist Camille Pleyel.

Nocturne in E-flat Major, Op. 9 No. 2 — Andante
This nocturne resembles the style of Field’s Nocturne No. 9 in the same key. The left hand figuration is similar, and both have cadenza-like passages toward the end. This is Chopin’s most famous nocturnes. It was composed in 1830/1832 and published in 1833; it is also dedicated to Marie Pleyel.

Nocturne in B Major, Op. 9 No. 3 — Allegretto
This nocturne is obscure and rarely performed. It is an exercise in lyricism and delicacy. Its development is paradoxical in its torrential gracefulness. It was composed in 1830/1832 and published in 1833; it is also dedicated to Marie Pleyel, a lovely pianist of the period.

Nocturne in F Major, Op. 15 No. 1 — Andante Cantabile
The introduction of this night piece is calm and serene. This peace is followed by a stormy F minor central section, which purges sudden doubts and worries. A recapitulation follows, appeasing the anxiety and restoring the tranquility. It was composed in 1830/31 and published in 1833/34; it is dedicated to Ferdinand Hiller, a German composer, conductor and music director.

Nocturne in F-sharp Major, Op. 15 No. 2 — Larghetto
Although this Nocturne is fairly popular, this song is not so well known as the very famous nocturne in E-flat major. It has many more technical difficulties and requires more technique and a greater range of dynamics. Arthur Hedley said this nocturne was composed in 1832, after Chopin’s arrival in Paris. It was composed in 1830/31 and published in 1833/34; it is also dedicated to Ferdinand Hiller.

Nocturne in G Minor, Op. 15 No. 3 — Lento
In this Nocturne it is the irregularity and unpredictability of the phrasing that demands attention. It is wistful in its outer sections, with a hymn-like passage at its heart, marked religioso. To enhance the purity of this passage, Chopin deliberately refrained from using the sustaining pedal. The expected return to the opening, however, is replaced by a new idea, also somewhat modal in character. This seems to approach a cadence in D minor, but the concluding chords bring the music back to G, with an archaic 4-3 suspension and Picardy 3rd.

It is doubtful whether any consistent example of such harmony can be found of earlier date unless the third movement, “in the Lydian mode”, of Beethoven’s string quartet (Op. 132) is included.

A story goes that Chopin, upon seeing Hamlet, composed this nocturne and named it, On the Graveyard. After being asked later the reason for which he did not publish this title, Chopin answered: “Let them guess...”. This work was composed in 1833 and published in 1833/34; it is dedicated to Ferdinand Hiller.

Nocturne in C-sharp Minor, Op. 27 No. 1 — Larghetto
This nocturne was composed in 1834/35 and published in 1836; it is dedicated to Countess d’Apponyi. It is also known as: “Les plaintives”. It is clouded in a dark atmosphere, full of suspense and inner tension. The middle part is leading into a more triumphant mood, as the chordal section expands a moment of temporary glory. Niecks, an important Chopin biographer, considers these nocturnes (Op. 27) the best.

Nocturne in D-flat Major, Op. 27 No. 2 — Lento sostenuto
This Nocturne begins with a serene melody of hypnotic beauty, floating over a sea of D-flat major harmony. Its development heightens the sense of drama, and the piece closes in waves of melting nostalgia. It is indeed supreme in its class of Parisian salon pieces, if not more. It was composed in 1834/35 and published in 1836; it is dedicated to Countess d’Apponyi.

source
www.chopinmusic.net