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ClassicsOnline Home » CHOPIN: Nocturnes, Vol. 1
Gefle Dagblad (Sweden)
"Idil Biret's Chopin has both brilliance and nuances"
Fryderyk Chopin (1810-1849)
Nocturne in B Flat Minor, Op. 9, No. 1
Nocturne in E Flat Major, Op. 9, No. 2
Nocturne in B Major, Op. 9, No. 3
Nocturne in F Major, Op. 15, No.1
Nocturne in F Sharp Major, Op. 15, No.2
Nocturne in G Minor, Op. 15, No.3
Nocturne in C Sharp Minor, Op. 27, No. 1
Nocturne in D Flat Major, Op. 27, No. 2
Nocturne in B Major, Op. 32, No. 1
Nocturne in A Flat Major, Op. 32, No. 2
Nocturne in C Minor, B.I. 108
Nocturne in C Sharp Minor, B.I. 49
The son of a French émigré of relatively humble origin, who
had established himself as a schoolmaster in Warsaw and espoused the cause of
Poland with enthusiasm, Fryderyk Chopin was to make his home and career in Paris,
after early success at home, where he was trained at the Conservatory and gave
a series of public concerts before trying his luck in Vienna. Paris, however,
proved more suitable for his particular talents. As a pianist he excelled in
a peculiar delicacy of nuance, while as a teacher and as a gentleman he proved
acceptable in the elegant salons of the French capital.
For some ten years Chopin enjoyed or occasionally suffered
a relationship with the strong-willed blue-stocking Aurore Dudevant, better
known by her pen-name of George Sand, a woman of a distinctly liberated cast
of mind, who was to find even in her inamorato a source for her own fiction.
Chopin was to die of tuberculosis, from which he had long suffered, at the early
age of 39.
Among forms that Chopin made his own was the Nocturne, at one
time synonymous with the Serenade, but with the Irish pianist John Field and
Chopin, his successor, a lyrical piano piece offering, nominally at least, a
poetic vision of the night. Field wrote eighteen piano pieces with this title
between the years 1814 and 1835 and these introduced a new form of piano music
that was developed not only in the Nocturne but in other separate movements
for piano throughout the century.
The three nocturnes that make up Opus 9 were written either
during Chopin’s final period in Warsaw or during his first months abroad. They
were published in Paris in 1833, with a dedication to Thomas De Quincey’s “celestial
pianofortist” Marie Moke, once engaged to Berlioz, but from 1831 until their
separation four years later, the wife of the piano-manufacturer Camille Pleyel,
in whose Salle Pleyel Chopin gave his first public concert in Paris. The B flat
minor Nocturne, Opus 9, No. 1, with its more embellished melodic line and passionate
central section is followed by the familiar E flat Nocturne and a third of rather
more energetic character in B major.
The three Nocturnes of Opus 15 were published by Maurice Schlesinger
in 1834 with a dedication to Ferdinand Hiller, who had impressed Chopin as a
boy with great talent. Hiller was a pupil of Hummel and a close friend of Mendelssohn.
The first of the set, in F major, has a passionate F minor central section,
followed by an F sharp major Nocturne of greater complexity and a gentler G
minor Nocturne, marked Lento, languido e rubato.
Schlesinger, a somewhat unprincipled publisher, satirised by
Flaubert, who was in love with Schlesinger’s wife, published the Opus 27 Nocturnes
in 1836, with a dedication to Countess Apponyi, wife of the Austrian ambassador
in Paris, who brought Johann Strauss to Paris in the same year. Chopin had deplored
the tastes of Vienna and the dominance of Strauss and Lanner, both enjoying,
to his expressed surprise, the title of Kapelimeister. The C sharp minor Nocturne,
Opus 27, No. 1, has at its heart a more dramatic A flat major section, while
the 1 Nocturne in D flat major, the second of the set, marked Lento sostenuto,
includes more elaborate chromatic embellishment.
The eleventh of Chopin’s Nocturnes, in the key of B major,
opens the set of two published in Berlin in 1837 and forming Opus 32. The nocturnes
were dedicated this time to Baronne de Billing, a pupil of the composer. The
first of the pair lacks elaborate ornamentation, with a conclusion of dramatic
contrast. The second, in A flat major, has a brief chordal introduction before
moving into a more familiar texture. Its central section includes an excursion
into the key of F sharp minor.
The C minor Nocturne of 1837 was only published 100 years later.
The second attempt at the form, the Nocturne in C sharp minor, was written in
1830, Chopin’s last year in Warsaw, which he left, never to return, on 2nd November.
The direction Lento con gran espressione indicates the character of the work,
which was first published posthumously in Poznan in 1875.
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CHOPIN: Nocturnes, Vol. 1