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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 ...
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.
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.
H 30A – Nocturne for piano No. 10 "Romance" in E-flat major – 1816; 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 ...
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."
3 Marches C-minor, B-flat minor and F minor KK. Vd/1-3 Lost; perhaps includes the Marche funèbre in C minor, Op. posth. 72/2 and the Andante Dolente in B-flat minor Marches "early" KK. Vf Lost Mazurka B-flat minor KK. Anh. Ib Doubtful Mazurka KK. Ve/8 Mentioned in 1878 correspondence between Breitkopf & Hartel and Izabela Barczinska Mazurka KK ...
Secondary melody in Op 62 No 2 Agitato third theme of Op 62 No 2 Page 4 of Nocturne, op.62/2 (autograph manuscript) The Nocturne in E major is another reflective and contrapuntally engaging piece. The nocturne's thematic structure (A–B–C–A–B) consists of a slow primary theme in E major, followed by a more quickly moving secondary ...