The Nocturnes, Op. 37 are a set of two nocturnes for solo piano written by Frédéric Chopin in 1839 during the time of his stay with author George Sand in Majorca[1][2] and published in 1840.[3] Unusually, neither piece carries a dedication.
Opening bars of Opus 37 No. 1.
This set of nocturnes was originally considered to be one of the better sets, yet its popularity slowly decreased in the twentieth century.[1] Blair Johnson maintains, however, that the pieces are still "wonderful specimens, being something of a hybrid between the more dramatic Opus 27 and the far simpler textures and moods of Opus 32."[1]Robert Schumann commented that they were "of that nobler kind under which poetic ideality gleams more transparently."[1] Schumann also said that the "two nocturnes differ from his earlier ones chiefly through greater simplicity of decoration and more quiet grace."[4]
Gustav Barth commented that Chopin's nocturnes are definite signs of "progress" in comparison to John Field's original nocturnes, though the improvements are "for the most part only in technique."[5] However, David Dubal feels that the pieces are "more aptly described as ballades in miniature."[6]
The Nocturne in G minor is initially marked as andante sostenuto and is in 4 4meter. In measure 41, the key changes to E♭ major and returns to G minor in measure 67. The piece is a total of 91 measures long, ending with a Picardy third, and is in ternary form.[1] One of Chopin's students once claimed that Chopin himself forgot to mark the increase in tempo for the chorale, which led to the section being played too slowly.[7]
Chorale-like middle section of Opus 37 No. 1.
James Friskin commented that the nocturne is "one of the simpler nocturnes" and is similar to the Nocturne in G minor, Op. 15, No. 3 in that it "has similar legato chord passages in the contrasting section" though this nocturne "has a more ornamental melodic line".[8] Dubal also agreed that the nocturne is "of lesser importance."[9] Critics, however, have often pointed to the potential allusion to religion in the middle section. Maurycy Karasowski commented that the middle section has "a church-like atmosphere in chords."[10] Johnson also thought the chords to be "chorale-like" and commented that "some biographers have felt that this music represented Chopin's faith in the consoling power of religion."[1]
The Nocturne in G major is initially marked as andantino and is in 6 8 meter, remaining so for all 139 measures. It is written in the style of a Venetianbarcarolle,[7] which, according to Dubal, is engendered by the main theme's "euphonious thirds and sixths".[9] Huneker commented that "pianists usually take the first part too fast, the second too slowly" and play the piece like an étude.[11] Friskin commented that the sixths "require care to get evenness of tone control."[8] The piece has the structure A–B–A–B–A, somewhat unusual for a Chopin nocturne. The melody in thirds and sixths is similarly unusual, all other Chopin nocturnes opening with single-voice melodies.
Secondary theme of Opus 37 No. 2
The nocturne has been acclaimed as one of the most beautiful melodies that Chopin has ever composed.[1] Both Karasowski and Huneker agreed with this assessment; Karasowski claimed that "one can never listen [to the nocturne] without a sense of the deepest emotion and happiness,"[10] and Huneker commented that the nocturne was "painted with Chopin's most ethereal brush".[7]Frederick Niecks also thought the piece had "a beautiful sensuousness; it is luscious, soft, rounded, and not without a certain degree of languor."[9] To Blair Johnson, the theme is "certainly a musical embodiment of the 'less is more' doctrine."[1] Johnson also commented that "something of the warmer Mediterranean climate crept into the composer's pen," in reference to Chopin's stay on the island of Majorca.[1] Niecks also said that the nocturne "bewitches and unmans," pointing to the formerly popular view that Chopin's music could act as an aphrodisiac.[9] Similarly, Louis Kentner once said, in reference to this nocturne, that the nocturnes should not "suffer critical degradation because sentimental young ladies used them, in days long gone by, to comfort their repressed libido."[9]
References
^ abcdefghiWoodstra, Chris; Brennan, Gerald; Schrott, Allen (2005). AllMusic Guide to Classical Music. Hal Leonard Corporation. p. 287. ISBN0-87930-865-6. Retrieved 21 March 2009.
^Samson, Jim (1985). The Music of Chopin. London; Boston: Routledge & Kegan Paul. p. 21. ISBN0-7100-9688-7.
^Huneker, James G. (1966). Chopin: The Man and his Music. New York: Dover Publ. p. 251. ISBN0-486-21687-X.
^Lateiner, Jacob; Bruce Brubaker; Jane Gottlieb (2000). Pianist, Scholar, Connoisseur: Essays in honor of Jacob Lateiner. Stuyvesant, N.Y.: Pendragon Press. p. 23. ISBN1-57647-001-6.
^Dubal, David (2004). The Art of the Piano: Its Performers, Literature, and Recordings. Pompton Plains, NJ: Amadeus Press. p. 461. ISBN1-57467-088-3.
^ abFriskin, James; Irwin Freundlich (1973). Music for the Piano: A handbook of concert and teaching material from 1580 to 1952. New York: Dover Publications. p. 106. ISBN0-486-22918-1.
McMaster Music Analysis Colloquium, Volume 1, December 1999 – Analysis of No. 1.
March 13, 2023
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The Nocturnes Op 37 are a set of two nocturnes for solo piano written by Frederic Chopin in 1839 during the time of his stay with author George Sand in Majorca 1 2 and published in 1840 3 Unusually neither piece carries a dedication Opening bars of Opus 37 No 1 This set of nocturnes was originally considered to be one of the better sets yet its popularity slowly decreased in the twentieth century 1 Blair Johnson maintains however that the pieces are still wonderful specimens being something of a hybrid between the more dramatic Opus 27 and the far simpler textures and moods of Opus 32 1 Robert Schumann commented that they were of that nobler kind under which poetic ideality gleams more transparently 1 Schumann also said that the two nocturnes differ from his earlier ones chiefly through greater simplicity of decoration and more quiet grace 4 Gustav Barth commented that Chopin s nocturnes are definite signs of progress in comparison to John Field s original nocturnes though the improvements are for the most part only in technique 5 However David Dubal feels that the pieces are more aptly described as ballades in miniature 6 Contents 1 No 1 in G minor 2 No 2 in G major 3 References 4 External linksNo 1 in G minor Edit Nocturne in G minor Op 37 No 1 source source Problems playing this file See media help The Nocturne in G minor is initially marked as andante sostenuto and is in 44 meter In measure 41 the key changes to E major and returns to G minor in measure 67 The piece is a total of 91 measures long ending with a Picardy third and is in ternary form 1 One of Chopin s students once claimed that Chopin himself forgot to mark the increase in tempo for the chorale which led to the section being played too slowly 7 Chorale like middle section of Opus 37 No 1 James Friskin commented that the nocturne is one of the simpler nocturnes and is similar to the Nocturne in G minor Op 15 No 3 in that it has similar legato chord passages in the contrasting section though this nocturne has a more ornamental melodic line 8 Dubal also agreed that the nocturne is of lesser importance 9 Critics however have often pointed to the potential allusion to religion in the middle section Maurycy Karasowski commented that the middle section has a church like atmosphere in chords 10 Johnson also thought the chords to be chorale like and commented that some biographers have felt that this music represented Chopin s faith in the consoling power of religion 1 No 2 in G major Edit Opening bars of Opus 37 No 2 Nocturne in G major Op 37 No 2 source source Recording by Olga Gurevich Musopen Problems playing this file See media help The Nocturne in G major is initially marked as andantino and is in 68 meter remaining so for all 139 measures It is written in the style of a Venetian barcarolle 7 which according to Dubal is engendered by the main theme s euphonious thirds and sixths 9 Huneker commented that pianists usually take the first part too fast the second too slowly and play the piece like an etude 11 Friskin commented that the sixths require care to get evenness of tone control 8 The piece has the structure A B A B A somewhat unusual for a Chopin nocturne The melody in thirds and sixths is similarly unusual all other Chopin nocturnes opening with single voice melodies Secondary theme of Opus 37 No 2 The nocturne has been acclaimed as one of the most beautiful melodies that Chopin has ever composed 1 Both Karasowski and Huneker agreed with this assessment Karasowski claimed that one can never listen to the nocturne without a sense of the deepest emotion and happiness 10 and Huneker commented that the nocturne was painted with Chopin s most ethereal brush 7 Frederick Niecks also thought the piece had a beautiful sensuousness it is luscious soft rounded and not without a certain degree of languor 9 To Blair Johnson the theme is certainly a musical embodiment of the less is more doctrine 1 Johnson also commented that something of the warmer Mediterranean climate crept into the composer s pen in reference to Chopin s stay on the island of Majorca 1 Niecks also said that the nocturne bewitches and unmans pointing to the formerly popular view that Chopin s music could act as an aphrodisiac 9 Similarly Louis Kentner once said in reference to this nocturne that the nocturnes should not suffer critical degradation because sentimental young ladies used them in days long gone by to comfort their repressed libido 9 References Edit a b c d e f g h i Woodstra Chris Brennan Gerald Schrott Allen 2005 AllMusic Guide to Classical Music Hal Leonard Corporation p 287 ISBN 0 87930 865 6 Retrieved 21 March 2009 Samson Jim 1985 The Music of Chopin London Boston Routledge amp Kegan Paul p 21 ISBN 0 7100 9688 7 Huneker James G 1966 Chopin The Man and his Music New York Dover Publ p 251 ISBN 0 486 21687 X Huneker 1966 p 262 Lateiner Jacob Bruce Brubaker Jane Gottlieb 2000 Pianist Scholar Connoisseur Essays in honor of Jacob Lateiner Stuyvesant N Y Pendragon Press p 23 ISBN 1 57647 001 6 Dubal David 2004 The Art of the Piano Its Performers Literature and Recordings Pompton Plains NJ Amadeus Press p 461 ISBN 1 57467 088 3 a b c Huneker 1966 p 261 a b Friskin James Irwin Freundlich 1973 Music for the Piano A handbook of concert and teaching material from 1580 to 1952 New York Dover Publications p 106 ISBN 0 486 22918 1 a b c d e Dubal 2004 p 464 a b Karasowski Maurycy Emily Hill 1879 Frederic Chopin His Life Letters and Works London W Reeves p 346 OCLC 1814926 Huneker 1966 pp 261 262External links EditNocturnes Op 37 Scores at the International Music Score Library Project Analysis of Op 37 No 1 by Barbara Swanson McMaster Music Analysis Colloquium Volume 1 December 1999 Analysis of No 1 Retrieved from https en wikipedia org w index php title Nocturnes Op 37 Chopin amp oldid 1101957091, wikipedia, wiki, book, books, library,
