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Chopin composed his best-known Nocturne in E ♭ major, Op. 9, No. 2 when he was around twenty years old. This well-known nocturne is in rounded binary form (A, A, B, A, B, A) with coda, C. It is 34 measures long and written in 12 8 meter, having a similar structure to a waltz. The A and B sections become increasingly ornamented with each ...
John Field (26 July 1782, Dublin – 23 January 1837, Moscow) was an Irish pianist, composer and teacher [1] widely credited as the creator of the nocturne. While other composers were writing in a similar style at this time, Field was the first to use the term 'Nocturne' specifically to apply to a character piece featuring a cantabile melody ...
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.
Nocturne in E-flat major, Op. 55, No. 2. The second nocturne in E ♭ major features a 12 8 time signature, triplet quavers in the bass, and a lento sostenuto tempo marking. The left-hand features sweeping legato arpeggios from the bass to the tenor, while the right-hand often plays a contrapuntal duet and a soaring single melody.
These works were published in 1855, and include the Fantaisie-Impromptu, 8 mazurkas, 5 waltzes, 3 polonaises, 3 écossaises, a nocturne, a rondo, and a Marche funèbre. In 1857, 17 of Chopin's Polish songs were published as Op. 74.
H 56 – Nocturne for piano No. 11 in E-flat major – 1832; H 58D – Nocturne for piano No. 12 in G major – 1822; H 59 – Nocturne for piano No. 13 "Song without Words" in D minor – 1834; H 60 – Nocturne for piano No. 14 in C major – 1835; H 61 – Nocturne for piano No. 15 in C major – 1836; H 62 – Nocturne for piano No. 16 in F ...
To some, these nocturnes are not as impressive as their predecessors, the Nocturnes, Op. 27. [2] While each piece "exemplifies one of the composer's various approaches to nocturne form," Blair Johnson felt that, in the piece, the "moments of originality and power stick out in a way that they couldn't have, had the entirety of the pieces been sewn of finer silk."
[8] The piece has the structure A–B–A–B–A, somewhat unusual for a Chopin nocturne. The melody in thirds and sixths is similarly unusual, all other Chopin nocturnes opening with single-voice melodies. Secondary theme of Opus 37 No. 2. The nocturne has been acclaimed as one of the most beautiful melodies that Chopin has ever composed. [1]
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