Together these two elements propel the dense, heavy melancholy onward while accumulating emotional anxiety as the melodic line develops more instability with every chromatic addition. 2 will focus on two key characteristics of the Nocturne: the melodic chromaticism and the rhythmic contrast between the treble and bass parts. 2 is in 12/8, and that this analysis refers to individual beats relative to the 12 8th note divisions per bar (e.g.- beat 7 of bar 1 features a dotted quarter F note in the treble clef). It is also important to note that the time signature of Op. The Lennox analysis fails to recognize the distinctive major 6th upward leap at the beginning of the A’ sections that justifies them as a unified whole (the A section also begins with this leap, but it is still distinguished from A’ as the main theme). However, both of these opinions fall short in certain respects. Other interpretations of the form also exist: Hugo Leichtenritt outlines a “rondolike contruction–A B A B A C C” in which the coda functions as an extension of the alternating A and B sections (5-6), and Lennox Berkeley considers an “A1 A2 B1 A3 B2 A4 coda” layout, where the A’ sections are considered as separate entities rather than a unified yet steadily evolving variation (173). 1-4), the following phrases alternating between progressive variations of A (labeled as A’) and a static B section up to measure 25, after which a 10-bar coda closes the piece–more concisely, A A’ B A’ B A’ coda. Chopin introduces the main phrase, section A, at the beginning of the nocturne (mm. The overall form is a binary structure, where both A and B sections equate to four-bar phrases. Thus, the Chopin nocturnes can easily be considered as historical landmarks of compositional masterpieces, and Chopin himself as the father of the nocturne in its fully-realized form.īefore delving into the analysis, it is necessary to establish a basic outline of Op. These unique melodic tendencies, according to Frank Liszt, are “poetic” in nature and sing “not only the harmonies which are the source of our most ineffable delights, but likewise the restless, agitating bewilderment to which they often give rise” this emotional density is what Liszt believes could be realized only by a “genius” who saw the potential of “the movement and ardour” inherent within the Field nocturnes (54). Victor Lederer describes how Chopin incorporated those operatic qualities in his nocturnes: “Chopin’s profound sympathy with the Italian operatic style allowed him to transfer its large melodic spans and potent emotional content to the piano, which cannot sing but for which Chopin devised a sound that evokes a voice” (54). Chopin improved upon the foundations laid by Field through his distinct “dreamy bel canto style” melodies inspired by the “large melodic spans and potent emotional content” of the Bellini operas (173). 2) is often considered one of his best nocturnes, as well as a far superior follow-up to those of John Fields, an Irish composer and pianist who first realized the concept of the nocturne in 1814 along with its common characteristics: “a somewhat melancholy style, with an expressive, dreamy melody over broken-chord accompaniment” (Berkeley 173). Published in 1833 and dedicated to French pianist and teacher Camilla Pleyel, Nocturne in E flat major (Op.
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