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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 ...
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 ...
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.
[4] O'Rourke has increased the availability of John Field's works considerably through his recordings of all the piano concerti, sonatas, and nocturnes. [citation needed] In 1994, O'Rourke was awarded the Chopin Medal by the Fryderyk Chopin Society of Warsaw in recognition of his "outstanding Chopin playing". [6]
The opening bars of No. 1 in C ♯ minor. The Nocturne in C-sharp minor, referred to as Nocturne No. 7 in the context of the complete set of Chopin's Nocturnes, is initially marked larghetto and is in 4 4 meter, written as common time. It transitions to più mosso (more movement) in measure 29, along with a time signature change to 3 4 meter.
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 ...
Chopin, Nocturne in B major, Op. 62, No. 1 Secondary theme. The Nocturne in B major opens with two introductory chords. After a pause, a melody in B major emerges. At first, the action proceeds gently and smoothly (dolce, legato). The piece soon turns into declamation, led by a voice in the upper register, and after a rapid scale in the right ...
Opening bars from Op. 48 No. 1. The Nocturne in C minor, Op. 48, No. 1 is initially marked lento and is in 4 4 meter. In general, the scheme of the music is ternary form and follows the structure A–B–A′. [3] The piece becomes poco più lento at measure 25 and enters its middle section, which is a chorale in C major.