Chopin The Nocturnes Rar
Alke Stilwell
Frédéric Chopin wrote 21 nocturnes for solo piano between 1827 and 1846. They are generally considered among the finest short solo works for the instrument and hold an important place in contemporary concert repertoire.[1] Although Chopin did not invent the nocturne, he popularized and expanded on it, building on the form developed by Irish composer John Field.[2][3]
Chopin's nocturnes numbered 1 to 18 were published during his lifetime, in twos or threes, in the order of composition. However, numbers 19 and 20 were actually written first, prior to Chopin's departure from Poland, but published posthumously. Number 21 was not originally entitled "nocturne" at all,[4] but since its publication in 1938 as such, it is generally included with publications and recordings of the set.
By the time of Chopin's birth in 1810, John Field was already an accomplished composer. Eventually, the young Chopin became a great admirer of Field, taking some influence from the Irish composer's playing and composing technique.[5] Chopin had composed five of his nocturnes before meeting Field for the first time.[6]
In his youth, Chopin was often told that he sounded like Field, who in turn was later described as sounding "Chopinesque".[7] The composer Friedrich Kalkbrenner, one of Chopin's early influences, once inquired as to whether Chopin was a student of Field.[8] While Chopin held Field in high respect and considered him one of his primary influences, Field had a rather negative view of Chopin's work. Upon meeting Chopin and hearing his nocturnes in 1832, Field is said to have described the composer as a "sickroom talent".[8] Nonetheless, Chopin still admired Field and his work and continued to take inspiration throughout his life.
Chopin's nocturnes carry many similarities with those of Field while at the same time retaining a distinct, unique sound of their own. One aspect of the nocturne that Chopin continued from Field is the use of a song-like melody in the right hand. This is one of the most if not the most important features to the nocturne as a whole. The use of the melody as vocals bestowed a greater emotional depth to the piece, drawing the listener in to a greater extent.[5] Along with the right-hand melody, Chopin continued the use of another nocturne "necessity", that of playing broken chords on the left hand to act as the rhythm under his right-handed "vocal" melody. Another technique used by Field and continued by Chopin was the more extensive use of the pedal. By using the pedal more, the music gains more emotional expression through sustained notes, giving the piece an aura of drama.[9] With these main attributes of the "Field nocturne" Chopin was inspired, and expanded upon them to develop the "Chopin nocturne".
One of the greatest innovations made by Chopin to the nocturne was his use of a more freely flowing rhythm, a technique based on the classical music style. Also, Chopin further developed the structure of the nocturne, taking inspiration from the Italian and French opera arias, as well as the sonata form. Composer Franz Liszt even insisted that Chopin's nocturnes were influenced by Vincenzo Bellini's bel canto arias,[10] a statement affirmed and echoed by many in the music world. A further innovation of Chopin's was his use of counterpoint to create tension in the nocturnes, a method that even further expanded the dramatic tone and feel of the piece itself.[5] It was mainly through these themes of operatic influence, freer rhythms, and an expansion into more complex structures and melodic playing that Chopin made his mark on the nocturne.[9] Many think of the "Chopin nocturne" as a mix between the form and structure of Field and the sound of Mozart, displaying a classic/romantic-influenced theme within the music.[5]
When first published, Chopin's nocturnes were met with mixed reactions from critics. However, through time, many who had initially been displeased with the nocturnes found themselves retracting previous criticisms, holding the compositions in high regard.[11]
Various composers from both Chopin's lifetime and later have expressed their influences from his work with nocturnes. Such artists as Johannes Brahms and Richard Wagner display similar melodic techniques and styles in their music to those of Chopin. Other composers such as Mendelssohn, Schumann, and Liszt described the genius that lay within Chopin's nocturnes.[12] It is clear that these piano compositions made a noticeable and lasting impact on music and composition during the romantic period. The most important later composer of nocturnes was Gabriel Fauré, who greatly admired Chopin and composed thirteen works in this genre. Other later composers who have written solo piano nocturnes include Georges Bizet, Erik Satie, Alexander Scriabin, Francis Poulenc, Samuel Barber, Sergei Rachmaninoff, and Lowell Liebermann.
We, classical music lovers, can be a moody bunch, and sometimes we just get in the mood to listen to sad piano music. And when it comes to sad piano music, Frédéric Chopin always delivers, especially when it comes to his nocturnes.
Plum purple withlighter watermark and ruffled white picotee edge over large yellow to greenthroat. Four-way branching with 18 buds and fertile both ways. The unusualcolor seems to evoke the melancholy mood of many Chopin nocturnes.
Even though his music has a reputation for being incredibly challenging, not everything he wrote has to make your fingers feel like they might fall off! In reality, there are plenty of amazing piano pieces that are not necessarily reserved for expert pianists. For example, you might be interested in exploring a few Chopin nocturnes.
These pieces can be played by an intermediate pianist, and there are professionals who still perform these works all the time. If you are looking for a good introduction to Chopin, you might want to consider exploring a few of his nocturnes yourself. There is a good chance you will recognize a few of these pieces when you start listening to them.
When Chopin's nocturnes are played in a sentimental fashion, they can seem prettified and self-consciously poetic -- the Chopin of antiquated legend, a sickroom talent propped up at a piano, rolling his eyes heavenward. Pollini's new recording of the complete set (Deutsche Grammophon, two CDs), though, is refreshingly straightforward; he understands and appreciates but never overindulges the moody beauties in these 19 pieces. Nor does he drown them in pedal.
Those who prefer their nocturnes blurry might wish to look elsewhere, but I'd rank Pollini's performances as some of the most affecting I've heard since Arthur Rubinstein's famous renditions from the mid-1960s.
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