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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, by Anton Wachsmann [], c. 1820. 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.
The Nocturnes, Op. 15 are a set of three nocturnes for solo piano written by Frédéric Chopin between 1830 and 1833. The work was published in January 1834, and was dedicated to Ferdinand Hiller. [1] These nocturnes display a more personal approach to the nocturne form than that of the earlier Opus 9. The melodies and emotional depth of these ...
Also, Chopin wrote numerous song settings of Polish texts, and chamber pieces including a piano trio and a cello sonata. This listing uses the traditional opus numbers where they apply; other works are identified by numbers from the catalogues of Maurice J. E. Brown ( B ), Krystyna Kobylańska ( KK ), Józef Michał Chomiński ( A , C , D , E ...
H 24 – Nocturne for piano No. 1 in E-flat major – 1812; H 25 – Nocturne for piano No. 2 in C minor – 1812; H 26 – Nocturne for piano No. 3 in A-flat major – 1812; H 36 – Nocturne for piano No. 4 in A major – 1817; H 37 – Nocturne for piano No. 5 in B-flat major – 1817; H 40 – Nocturne for piano No. 6 "Cradle Song" in F ...
Opening bars of Nocturne No. 19 in E minor. The Nocturne in E minor, Op. posth. 72 No. 1, WN 23, was composed by Frédéric Chopin for solo piano in 1826. [1] It was Chopin's first composed nocturne, although it was the nineteenth to be published, in 1855, along with two other early works: a funeral march in C minor and three écossaises.
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."
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.
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