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Updated: June 23, 2025
Young as she was, and simple and indolent, she could when she pleased play the coquette, though in all innocence: then she would spread her net for young men and go sketching, or play the nocturnes of Chopin, or carry books of poetry which she had not read, and indulge in conversations and hats that were about equally idealistic. Christophe would watch her and laugh gently to himself.
Karasowski thinks that the letters numbered 1, 2, 3, and 9 were of the year 1838, and those numbered 6, 7, and 8 of the year 1839; but as the "Tarantelle," Op. 43, the "Polonaise," Op. 44, the "Prelude," Op. 45, the "Allegro de Concert," Op. 46, the third "Ballade," Op. 47, the two "Nocturnes," Op. 48, and the "Fantaisie," Op. 49, therein mentioned, were published in 1841, I have no doubt that they are of the year 1841.
No less unique and original are the exquisite modulations into foreign keys which abound in the nocturnes, as, indeed, in all his works. Schucht calls attention to the fact that in his very opus 1 Chopin permits himself a freedom of modulation which Beethoven rarely indulged in. But this is a mere trifle compared with the works of his last period.
And in the compositions of his first period, the period that ends, roughly, with the piano concerto, the allegiance is marked, the discipleship undeniable. The influence of Chopin is ubiquitous. Scriabine writes mazurkas, preludes, études, nocturnes and waltzes in his master's cool, polite, fastidious general manner.
In addition there is a nocturne written in 1828 and published by Fontana, with the opus number 72, No. 2, and the lately discovered one in C sharp minor, written when Chopin was young and published in 1895. This completes the nocturne list, but following Niecks' system of formal grouping I include the Berceuse and Barcarolle as full fledged specimens of nocturnes.
In the more tender pieces, such as the nocturnes of Field and of Chopin, he played with the utmost dreaminess. His individuality showed in his playing. He was impulsive and uncertain, a wandering musician, who, when the whim took him, would disappear from public view altogether.
The great Pre-Raphaelite had invited the painter of nocturnes and harmonies to dine with him at his house in Chelsea, and when Whistler arrived he was shown into a reception-room. Seating himself, he was soon disturbed by a noise which appeared to be made by a rat or a mouse in the wainscoting of the room. This surmise was wrong, as he found the noise was in the center of the apartment.
A composition like "Nuages," the first of the three nocturnes for orchestra, while taking but five minutes in performance, outweighs any number of compositions that last an hour. "L'Après-midi d'un faune" is inspired and new, marvelously, at every measure.
He said that the quick middle movements which Chopin frequently introduced into his nocturnes are often weaker than his first conceptions; meaning the first portions of his nocturnes.
Still, one finds in them the thundering power of the Scherzi, the half satirical, half coquettish elegance of the Mazurkas, and the southern, luxuriously fragrant breath of the Nocturnes. Often it is as though they were small falling stars dissolved into tones as they fall."
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