Other composers such as Mendelssohn, Schumann, and Liszt described the genius that lay within Chopin's nocturnes. Such artists as Johannes Brahms and Richard Wagner display similar melodic techniques and styles in their music to those of Chopin. Various composers from both Chopin's lifetime and later have expressed their influences from his work with nocturnes. ![]() 2 in D ♭ major perhaps the most enduringly popular. While the popularity of individual nocturnes has varied considerably since Chopin's death, they have retained a significant position in piano repertoire, with the Op. However, through time, many who had initially been displeased with the nocturnes found themselves retracting previous criticisms, holding the compositions in high regard. When first published, Chopin's nocturnes were met with mixed reactions from critics. Many think of the "Chopin nocturne" as a mix between the form and structure of Field and the sound of Mozart, displaying a classic/ romantic-influenced theme within the music. It was mainly through these themes of operatic influence, freer rhythms, and an expansion into more complex structures and melodic playing that Chopin made his mark on the nocturne. A further innovation of Chopin's was his use of counterpoint to create tension in the nocturnes, a method that even further expanded the dramatic tone and feel of the piece itself. Composer Franz Liszt even insisted that Chopin's nocturnes were influenced by Vincenzo Bellini's bel canto arias, a statement affirmed and echoed by many in the music world. Also, Chopin further developed the structure of the nocturne, taking inspiration from the Italian and French opera arias, as well as the sonata form. ![]() One of the greatest innovations made by Chopin to the nocturne was his use of a more freely flowing rhythm, a technique based on the classical music style. With these main attributes of the "Field nocturne" Chopin was inspired, and expanded upon them to develop the "Chopin nocturne". By using the pedal more, the music gains more emotional expression through sustained notes, giving the piece an aura of drama. Another technique used by Field and continued by Chopin was the more extensive use of the pedal. Along with the right-hand melody, Chopin continued the use of another nocturne "necessity", that of playing broken chords on the left hand to act as the rhythm under his right-handed "vocal" melody. The use of the melody as vocals bestowed a greater emotional depth to the piece, drawing the listener in to a greater extent. This is one of the most if not the most important features to the nocturne as a whole. One aspect of the nocturne that Chopin continued from Field is the use of a song-like melody in the right hand. Nonetheless, Chopin still admired Field and his work and continued to take inspiration throughout his life.Ĭhopin's nocturnes carry many similarities with those of Field while at the same time retaining a distinct, unique sound of their own. Upon meeting Chopin and hearing his nocturnes in 1832, Field is said to have described the composer as a "sickroom talent". 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. The composer Friedrich Kalkbrenner, one of Chopin's early influences, once inquired as to whether Chopin was a student of Field. In his youth, Chopin was often told that he sounded like Field, who in turn was later described as sounding "Chopinesque". ![]() Chopin had composed five of his nocturnes before meeting Field for the first time. Eventually, the young Chopin became a great admirer of Field, taking some influence from the Irish composer's playing and composing technique. Number 21 was not originally entitled "nocturne" at all, but since its publication in 1938 as such, it is generally included with publications and recordings of the set.īy the time of Chopin's birth in 1810, John Field was already an accomplished composer. However, numbers 19 and 20 were actually written first, prior to Chopin's departure from Poland, but published posthumously. Ĭhopin's nocturnes numbered 1 to 18 were published during his lifetime, in twos or threes, in the order of composition. Although Chopin did not invent the nocturne, he popularized and expanded on it, building on the form developed by Irish composer John Field. ![]() They are generally considered among the finest short solo works for the instrument and hold an important place in contemporary concert repertoire. Frédéric Chopin wrote 21 nocturnes for solo piano between 18.
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