Chopin - Nocturnes Op27

8/3/2019 Chopin - Nocturnes Op27

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Instructive EditionWith exp la na to ry remark s a nd . fin ge rin gs by

D R I'H IODOR[' KULlAKAuthor's Edition in English by

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N o c t u r n e B f l a t minor O p . 9 N~ 1 . N o c t u r n e Aflatmajor O p . 3 2 N~2 .II E flat m ajor " 9 N~2 . II G minor " 37 N~ 1 .

B · 9 N ° 3 G ' 3 '" N° ')m~Jor ,,_ ~ . II major .,':- -.F I n a J O I ' " b N:- 1 . II C minor " 48 N~1 .F sharp major., 15N~2 . II F sh arp minor" 4 8 N ~2 .G . 1~ N°3 F . "5 N° 1uno r " o J : - . " mmor " .J 1:- .C sharp m inor" ~7 N ~1 . II E flat major " j5 N~2 .D flat m sjor ,,2 7 N~2 . II B major ,,62 N~ 1 .B major " 3 2 N~ 1 . II E major II 62 N~ 2 .

N o c t u r n e E minor Or.72 N~ 1 .

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*d~.a) The nocturne consists of a cllief subject A, a secondary subject B, and the repetition of A with a coda. The

subject is gloomy in coloring; it is like the melancholy lament of one who is done with life. In the seconda

subject, silent resignation gives way to bitterness and resentment, which, after climaxing in the first two st"!p

(B In) iu the third (III) veers to extremes: to covetous desires, to passionate longing for the pleasures of

world. To greatest ecstacy succeeds, weak and exhausted, the repetition of the ('hief subject. The wondrous

beautiful coda with its ecclesiastical coloring is beneficent and conciliatory in efTect, just as elsewhere, in

turne Op. te; NIJ8 for example, the composer causes the outpourings of highest passion to be followed by

tins of a religious character. Interesting, moreover, is the similarity of the present work with Meyerbeer'8

song "I e m0in e " in point of psychological development. The monk, encoffined in his cell, is carried away

wildly excited fancy _ in a more grotesque way, to be sure _ to the point of bacchical paroxysm, until fina

in prayer to the Madonna he finds his last consolation.

b,c,d)Chopin is partial to making use of' broken chords in dispersed position; he has even written sp.ecial etudes for cult

ting such passages, (Op. to N'!..sI, XI, etc.) which.demand considerable capacity for stretching. If)order to dojustice to

notation, it is o(l('a~iollUllyecessary;I. to deviate from the rules concerning the normal position of the hand; 2. to mak

use of extremely complicated fingerings; and, finally, 8. in cases where the required l ega to - execution is utterly im

sible, to call in the aid of the pedal, or even of the other hand.

complicated finlC'ering Execution with pedal and

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a) NOCTURNE.

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Th. Kullal,.

Fr. Chopin, Op.27.

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a) The present nocturne divides best into strophes, for it does not develop into groups of parallel subjects, in the

sense, Even the base moves from beginning to end in homogeneous figures. I have assumed eight strophes, which

duce variety of shading, without offering essentially new contents. The chief strophes are the p:.,t,II~, and the vmStrophe III is the transposed repetition of the II~. Strophe VI the repetition of' the I~.

IV the repetition of the I~t • "VII""" " II~.

V the transposed repetition of the ns. " VIII " real Cod a of the composition.

The repetitions appear with continually increasing richness of outfit, in point of' both modulation and figura

so that Karasowski rightly says: "the lovely nocturne contains an almost lavish abundance of the finest embel

ments ", Indeed, its execution demands great technical proficiency ennobled by the most cultivated taste,

2'; ' (·t.p;,righl G. "rhirmer IRSt. ". 72QO (A)



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Chopin - Nocturnes Op27