Nocturnes (Chopin)

Frédéric Chopin composed the 21 Nocturnes as a solo piano pieces for 1827-1846.

Development of the Piano Nocturne

Between 1814 and 1835 published by the Irish piano virtuoso and composer John Field as probably the first " Nocturnes " under the French name. The already romantic duct ( called in various editions partly " Romances " ) in relation to the Chopin Nocturnes a generation older people, the younger affected directly. Field interwoven in its variable song forms have the typical " vocal embellishments " like this and also shows excellent dramatic and moving moments and developments as they characterize Chopin's Nocturnes later. The piano music of the Polish Maria Szymanowska, the Moments Musicaux and the Impromptus by Franz Schubert can be regarded as congenial predecessors, emerged hand in hand with the sonically - technical development of the fortepiano and the salon culture. As a romantic solo piano music piece of the Nocturne is now particularly associated with Chopin's name. He wrote twenty-one Nocturnes in thirteen cycles. According to him, were never again piano Nocturnes composed with comparable refined - klavieristisch - poetic statement.

Chopin's Nocturnes

The layered, often melancholy mood pieces Chopin show and illuminate one of the centers of his music, the melody, the lyricism of bel canto Italian opera arias much - about Vincenzo Bellini and Gioachino Rossini - shows. In no other genus Chopin transferred the expression of human art song - especially opera - so faithfully to his medium, the piano. These musical refinements were him through visits to the opera in the Teatr Wielki (Warsaw) and familiar stays in Berlin, Vienna and Paris. As a child he heard the famous Italian singer Angelica Catalani, who learned her bel canto art at a castrato. He worked again with musicians, such as the Paris opera singer and composer Pauline Viardot -Garcia, whom he accompanied in concerts and whose songs he performed. The rangy fioriture and portamenti his piano writing are eavesdropped singing. Carry the dreamy and dark character of the piece - often enhanced by latent polyphony - In this case, the notes played by the right hand melody arches over the soundscape of participating in the events accompanying figures of the left hand, their modulatory linkages unfold.

The Nocturnes 1 to 18 are alive Chopin, composed the earlier pieces were 19 to 21, however, published only posthumously.

" If we translate the French word with nocturne nocturne, so you must not think of night pieces in the manner of Schumann in the Nocturnes by Chopin. Chopin missing a direct relationship with nature; he therefore are not moods out how the people in the night forest, the night sea, on the nightly mountains cover with original power and include it in the great being and becoming of nature, obliterate him leave as small individuals and raise him again as part of a larger, more powerful existence. Chopin experienced the night at home, on the wing, by candlelight, and even as he experienced it only in his ideas, taking their broadcasts by unusual sensitivity of the nerves on. Above all, he gives her not to go, but puts them in the service of human moods. He always comes to the Nocturnes a man or his attunement to the fore; the night of nature, however, becomes the background, used to color and shading. Thus, these tone poems than actually Nocturnes act on the Germans, but not as nocturnes. "

Particulars

Chopin's Nocturnes are based on different song forms. For those in ABA form the central part often shows (B) a stroke or a change of key and / or a dramatic and rapid ( often slower) extending pace than the usually elegiac A part.

• Examples:
• F-Dur/f-Moll op 15, 1, with the change Andante cantabile / Con fuoco
• F-sharp major, Op 15, 2, Larghetto / Doppio movimento
• Fis-Moll/Des-Dur op 48, 2, Andantino / Molto più lento

As much as the Nocturnes are influenced by the art of melodic invention, so little is to be considered the melodic line itself. It is related to the differentiated and elaborate accompaniment, from whose braid is sometimes develop their own lines and a latent polyphony. At the first ( monophonic ) Melody occur secondary voices, or single tones of the accompanying harmonies of the left hand caused rhythmically staggered melodies.

• Examples:
• C-sharp minor, Op 27, 1, right-hand bars 20-26
• A flat major, Op 32, 2, left hand bars 14 and 19 f, again and again until the end.

In some Nocturnes the restrained, nocturnal elegiac mood prevails and the melody unfolds over a uniformly continuous monitoring:

• Examples:
• G minor, op 15, 3
• D flat major, Op 27, 2
• G minor, Op 37, 1 first bars of Op 27.2

In other places, but - as the central part of the C sharp minor Nocturne opus 27, 1, and especially the ballad-like plant in C minor, opus 48, 1 with the dramatically increasing middle part and the full grip end ( doppio movimento, agitato ) with triplets and 16th chords - shows the composer by his powerful and passionate page as it is expressed in the Scherzi, ballades and the second and third piano sonata.

The second Nocturne in E flat major opus 9, 2 is after invoice and conception Fields in the same key to nearby factory. For example, the chord inversions of the left hand are very similar in both pieces. The singable and wide sweeping melody played around with their ornamentation of Cantilena is highlighted by the memorable accompaniment with a harmony that darkens the characteristic flowing sound happening in the first cycle. So this creates with the tonic It dissonant D in the bass, a voltage modulation to F minor, the Leittonstufe forces already in the second bar. Already in this first period used Chopin chromatic changes and secondary dominants and abandoned the traditional chord progression of cadence .. So creates with the tonic It dissonant D in the bass a tension that already in the second clock modulation to F minor, the Leittonstufe, forces. Already in this first period used Chopin chromatic changes and secondary dominants and abandoned the traditional chord progression of cadence.

Bearbeitungungen

From this popular rondo -like piece of opus 9, 2 there are several edits; it has been edited by Pablo de Sarasate for violin.

An unpublished to this day processing of Nocturne A flat major opus 32, 2 Igor Fyodorovich Stravinsky comes from, he orchestrated music for orchestra. This version was Auffgefuehrt in Paris on June 2, 1909 at the performance of the ballet Les Sylphides.

Ballad

The expressive C minor, Op 48, one with its simple and diatonic opening melody is shaped and mediated by the slow pace of the accompaniment at first the impression of a solemn march of seriousness and pathos. Different design elements such as syncope (bars 2 and 4 ), unusual interval steps and abruptly ended phrases (bars 4 and 8) give already a certain restlessness of the tune to announce the following in the B- part breakout. Chopin continues the theme and can keep the melodic tension of the beginning and enrich it with new colors of the expression. He waived, even by him, mechanically -conventional repetition often used and is the main recurring motifs ( in bars 5 and 6, and 17 and 18) dar. in a new harmonic robe

Published posthumously

Even the early Nocturne of 17 year olds in E minor, Op 72, 1 ( posthumous oeuvre ) belongs with his passionate expression, the floating harmonies and the singing cantilenas already characteristic works of the composer.

Of the other posthumously published pieces, the 1827 composed Nocturne in C sharp minor ( Lento con gran espressione ) pleased with its painful character and refined harmonic accompaniment figures great popularity. The developed later given title comes from Chopin's Nocturne eldest sister Ludwika Jedrzejewicz, which was dedicated to the work and docked a list of non- published pieces. In the frequently played Chopin piece also cites other motives of his own compositions, so the early Concerto in F minor, without reducing its melancholy beauty and uniformity.

Work groups

À Madame Camille Pleyel ( 1833)

À Monsieur F. Hiller ( 1833)

À Madame la Comtesse d' Appony (1835 )

À Madame la Baronne de Billing, née de Courbonne (1837 )

Without Dedication (1840 )

À Mademoiselle Laure Duperré (1841 )

À Mademoiselle JW Stirling ( 1844)

À Mademoiselle R. de Könneritz (1846 )

Posthumously (1855 )

(1870 )