# Chopin's Nocturnes



## oogabooha

I know it may sound cliche, but I still hold the opinion that Chopin's Nocturnes are some of the best solo repertoire--not only for piano--but just in general for chamber music. They're very direct and beautiful and call for various moments in my life in which words fail (but that's why I'm listening to music in the first place). I'm constantly interested in what Chopin had to say in each one, so I wanted to make a thread to discuss them.

What are your opinions on them?


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## Ondine

oogabooha said:


> I know it may sound cliche, but I still hold the opinion that Chopin's Nocturnes are some of the best solo repertoire--not only for piano--but just in general for chamber music. They're very direct and beautiful and call for various moments in my life in which words fail (but that's why I'm listening to music in the first place). I'm constantly interested in what Chopin had to say in each one, so I wanted to make a thread to discuss them.
> 
> What are your opinions on them?


Seems that I am not alone with this, oogabooha.

Even if it is a cliche, my opinion is the same as yours.

Yesterday night I was listening to them. Nocturnes taste better at night, in the middle of the silence of midnight when everybody has gone to bed.

Played them softly and letting them to fill the space slowly can be a very touching and meditative experience. A kind of Satori.

There is a thread started by Lizstian where appears Chopin. He had my vote.

The music of Chopin has something very charming. There is an kind of special background sound -residual sound- all along his piano works that makes this listening unique.

Maybe, as happens with Mozart, his melodic lines flow in a kind of effortless manner that makes his music truly touching.

I can't tell what he is actually telling but it is something really intimate as a glance into the profound nature of human existence.


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## principe

The cliche might be that Chopin's Nocturnes are "soft" and "tender" music. They are quite tough, difficult, not that flowing or even "effortless", if one considers the harmony behind and around the basic melodic line, the subtle dynamics, the abrupt changes in the middle parts (in at least half of them) and some more technical details.
Besides, compared to his Piano Sonatas some of the audacious Polonaises, his four outstanding Scherzi, to mention just few, the Nocturnes are coming a bit as second best.

Principe


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## Sonata

I am a big fan of piano music, so naturally I am a big Chopin fan. He's definitely a top ten composer for me, maybe as high as six or seven, though it's hard to say as I'm listening to so much music that's new to me. 

Of Chopin's music, the Nocturnes and Waltzes are tops for me. Other favorites include the ballads, berceuse and barcarolle.


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## Art Rock

Blogged my opinion here. Love them.


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## Lisztian

I like them. I don't listen to them very often though...They get old quickly for me. My favourites are 27/2 and 48/1.


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## Dongiovanni

As a Chopin fan I also love the nocturnes, although for me the ballades are the pinnacle of his work.

Chopin wrote many nocturnes, with a constant output during his whole life. We can see that they get more abstract as Chopin matures. There are so many different colours in the nocturnes. There is a wide range in difficulty for the pianist, some are entry level, others are very demanding.

I love all of the nocturnes. If I would have to make a selection of favourites:
Op 27/1: I love the colours the left hand adds to (sad) melody. The middle section is brilliant in it's development.
Op 27/2: That melody, those harmonies and the variations. It gives an idea of how it may have sounded when Chopin improvised at the piano.
Op 32/2: The middle section ! 
Op 48/1: The repeat of the opening theme in double tempo is amazing. What a wonderfull effect and (sadly...) how hard to play
Op 55/2: The strangest of all nocturnes, in fact, is it a nocturne ?


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## Ukko

principe said:


> The cliche might be that Chopin's Nocturnes are "soft" and "tender" music. They are quite tough, difficult, not that flowing or even "effortless", if one considers the harmony behind and around the basic melodic line, the subtle dynamics, the abrupt changes in the middle parts (in at least half of them) and some more technical details.
> Besides, compared to his Piano Sonatas some of the audacious Polonaises, his four outstanding Scherzi, to mention just few, the Nocturnes are coming a bit as second best.
> 
> Principe


I agree with _@Principe_'s first paragraph (sort of), though not the second. The feel, the sentiment of the nocturnes is (big surprise here) open to interpretation. The night is not always friendly, and neither are many of the nocturnes - as interpreted by Weissenberg for instance. Going just by what I have read about Chopin's focus on the flexibility of what the piano can express, he would be embarrassed by the 'standard' interpretations of the nocturnes; too similar, too constantly tame in sentiment.


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## Ondine

Art Rock said:


> Blogged my opinion here. Love them.


I liked your review at your Blog. Thanks Art!


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## DeepR

Not as great as the Etudes or Ballades but I like them a lot. I agree though with Lisztian they get old quickly. 
27/1, 48/1 and 72/1 are my favorites.


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## Vaneyes

For those interested, a handy reference to the Nocturnes dedications and publishings can be found at Nico Paul's "Chopin Music" site, amongst many other items.

http://www.chopinmusic.net/works/nocturnes/

Chopin Project is another worthwhile visit, including Chopin's last Nocturne. Much scholarship here.

http://www.chopinproject.com/2008/08/27/nocturne-in-c-minor-kk-1233-5-1847-chopins-last-nocturne/

My own enjoyment and appreciation of the Nocturnes is relatively simple. Whenever I need a break from almost anything, even music sometimes, it can mean quickly scurrying to this place of comfort.


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## Crystal

Love op.72 no.1 and op.9 no.3.


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## Mandryka

Dongiovanni said:


> Op 55/2: The strangest of all nocturnes, in fact, is it a nocturne ?


Lots of people have tried to play this on a modern piano, including ones with a big following like Cortot, Friedman, Pogorelich, Rubinstein, Argerich, I think that they all fail to make it into music, apart from Maria Tipo, because the voices are equal in importance, and they snake around each other constantly It needs a more nimble, less resonant, more colourful instrument. It's a good example of a place where old pianos matter.

Luc Devos's performance is a revelation. Tipo is just very good at Chopin! She can control herself and the piano.

(OMG I've just seen I was responding to an ancient post -- sorry!)


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## Fenestella

Op.48-1: Emil Gilels (1940s), Pollini (recording made during or right after Chopin competition, not interested in his later recordings )
Op.27-2: Simon Barere (1940s), Josef Hofmann (multiple recordings, don't remember which ones are even better)


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## Mandryka

Fenestella said:


> Op.27-2: Simon Barere (1940s)


I hadn't heard that one before, it's quite a good one I agree. There's a recital by Horzowski which was issued with BBC Music Magazine with the two op 27s which I've been enjoying recently. It's worth getting the recordings I'd say, you used to be able to pick it up very cheaply from amazon, ebay etc.


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## Holden4th

Thank you Fenestella for pointing me towards the Gilels Op48/1, a wonderful performance. This my second favourite Chopin Nocturne. Thanks to the above posts I'm now investigating a number of performances.


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## Pugg

Don't forget checking out the Barenboim on DG, highly recommended.


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## Crystal

Love op.9 no.3, op.32 no.2 and op.48 no.1.


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