John Field – Nocturnes
A-flat major, No.3
This is the first time I have ever heard any work by John Field, and to my surprise I found it very elegant and delightful. It seemed to me that Nocturne No.3 had influences of Songs without Words. It’s beautiful lyrical melody accompanied by intertwining triplet and sextuplet 16th note patterns in one hand, brought to mind the compositional techniques Mendelssohn had used so often in his music. Easy listening at its best.
B-flat major, No. 5
Nocturne No.5 once again has a very lyrical feel supported by simple rocking accompaniment. Based upon two bar phrases, the cantabile line is simple to follow, and the use of a 12/8 meter gives the phrase a broader feel which adds to the weightlessness I feel the piece conveys. Also interesting to note, is Field’s use of a bridge section made up of ascending and descending chords in unison. This transition to the main theme is also used as a coda for the piece.
E-flat major, No. 8
Its funny how as pianists, we have become so familiar with the Nocturnes of Chopin. To think that one might automatically mistake Chopin’s own famous E-flat Nocturne (Op.9 No.2) as the inspiration for Field’s own E-flat Nocturne puts a smile on my face, as it was this phenomenal Irish composer that set the trend for Nocturnes to come. A charming piece in 6/8, in the same style as No.5 it to can be read in two bar phrases, which makes it easy to listen follow and listen to. The 6/8 gives the Nocturne a gentle swaying motion, which also allows the melody to become a lot freer and enhances its bel canto like quality.
Chopin Nocturnes
B major, No.3
The opening of this Nocturne brings to mind a young couple in Paris dancing the waltz down a quiet moonlit street, and every so often a gust of wind would blow them off their steps. It is the ¾ feeling that Chopin creates at the beginning, which gives these sudden, splurges of flight so much impact. Unlike Field, Chopin embellishes a lot more of his melodies with grace notes, appoggiaturas, and often adds a cadential-like passage at the end of phrase to connect a new idea. Whilst the mayhem in the melody unfolds, the accompaniment remains un-modified giving the pianist an anchor to lean on. Before the reprise, Chopin changes the character out of nowhere with an agitato section. As per usual, the accompaniment remains consistent whist the right hand has the melody, which employs less meandering, and more gusto. An exciting/edgy addition to the Nocturne, which definitely makes the reprise of the opening, a suitable option to close the piece.
C# minor, No. 7
Every time I hear this Nocturne I cannot help but feel a sense of calm but at the same time uneasiness. Uneasiness caused by the melody note beginning on the third of the scale, then immediately is raised to an augmented third. This simple half step introduces the melody in the third measure and continues to finish the four bar phrase. Underlying the melody is a steady triplet figuration, which played against the right hand in 4/4 makes it difficult to find the beat. Piu mosso section in contrast is made up of sequences gradually ascending up the key of C# minor until an unexpected A-flat major passage expands on the sequences in the piu mosso. A timeless descending run typical of Chopin eventually leads back to the main theme ending with a duet-like texture back to C-sharp minor.
B major, No. 17
A very curious rolled II/7 chord opens this Nocturne, which is immediately settled by a V/7. Already anything could be thrown at the listener, but judging by the previous Nocturnes, Chopin churns out another beautiful melodic line and this time, the accompaniment is just as active as the right hand. As the theme develops with a small cadential run in the middle, the music is led to a diminished fourth, taking the music to no other than A-flat major. A complete contrast in key and character, due to the offbeat accompaniment, the A-flat section has a tipsy-dance quality to it, yet maintains a gorgeous lyrical line. The reprise is met with a school of trills, runs, acciaccaturas leading to the coda which is a culmination of the melody from the opening and the offbeat accompaniment of the A-flat major section, yet after a flight of 16th note runs, the piece concludes in B major.
E major, No. 18
The opening four bars immediately bring to mind a lament, or the longing of something from long ago. The accompaniment is mostly made of single note/octaves, followed by a chord, and the melody has no real consistency of rhythm giving a very distant/lost feel. Despite the rhythm of the melody, the left hand is very grounded until it transforms to 16th note runs with a steady right theme, which eventually leads to an agitato where the right hand also acquires the 16th note pattern with offbeat accompaniment in the same hand. As the 8th note + 16th note pattern repeat itself, the agitato eventually leads itself back to the reprise, however, it ends with the opening measures of the agitato.
