Despite a characteristic bel canto and his ‘abhorrence of massive effects’ in his melodies Chopin does insert occasional dramatic moments into his Nocturnes such as the example shown in Figure 3. After the ‘strangely haunting passage’ of bars 21 to 25, b. 26 comes as something of a surprise. The sudden dynamic change to fortissimo (very loud), a sudden heightening of pitch and the rapid, almost glissando, effect only serve to heighten the emotion in the piece and certainly do not sound in any way enfeebled.
Fig. 3 F. Chopin Nocturne Op. 62 No. 1 Bars 23 – 26
Chopin uses appoggiaturas (another of the essential features of his style) for dramatic effect in the second Nocturne of Opus 62. Appoggiaturas are notes on a strong beat which create a dissonance and then resolve by step. Figure 4 shows a gradual crescendo coupled with repeated use of appoggiaturas on the first beat of each bar (the strongest) which creates great tension through the dissonance and serves to heighten the emotion meaning the sudden ‘dramatic ornamental flourish’ at b. 23 doesn’t sound out of place. The tension is then peacefully released as another appoggiatura leads back to the original melody at b. 25 (shown in figure 1).
Fig. 4 F. Chopin Nocturne Op. 62 No. 2 Bars 20 - 24
Chopin also used chromaticism to great effect and it is prevalent in both the Nocturnes of Opus 62. Figure 5 shows a highly chromatic passage which in contrast to Kleczyński’s opinion of enfeebled creativity is described in one analysis as having ‘harmonic interest.’ Hedley says that this passage is ‘a new way of returning to the tonic’ and Berkeley describes it as ‘typical of Chopin’s later manner … an individuality of harmony … much more chromatic than his earlier music’ both of which contradict the opinion that Chopin’s composition was lacking at this point. This section starts giving the feeling of a slide back to the tonic but with some interesting turns along the way where the listener cannot quite be sure of the direction the piece is taking and a certain feeling of unease is created. When the tonic is reached at b. 81 the listener can feel fulfilled and go on to enjoy the coda.
Fig. 5 F. Chopin Nocturne Op. 62 no. 1 Bars 76 – 81
Another aspect of chromaticism used in the first Nocturne of Opus 62 is the use enharmonic slippage. Enharmonic notes are notes which are the same pitch but notated on the stave as accidentals of different notes and the slippage means that the music uses this enharmonic note as the basis for a modulation. Figure 6 shows two examples of this: the D# becomes Eb (the dominant in the new key of Ab major) in the first example and in the second the reverse happens. In the first example the two notes are tied and in the second they continue uninterrupted due to the use of the trill. Not only does this make the transition to and from the contrasting middle section almost seamless but by using the device at the beginning and end of the section Chopin telegraphs the return to the opening (but varied) melody which continues as shown in figure 2. This is again creative of Chopin and further disproves Kleczyński’s opinion of him as enfeebled at this time.
Fig. 6 F. Chopin Nocturne Op. 62 No. 1 Bars 36-7 and 67-8
The second of the Opus 62 Nocturnes also has a contrasting middle section shown in figure 7. As well as using Chopin’s characteristic chromaticism (the chromatic passage in contrary motion in the last two beats of bar 48) the section also embodies another of Chopin’s essential stylistic features which is his use of counterpoint. Counterpoint is the use of multiple parts with independent rhythms. Chopin uses it in figure 7 to further add to the agitation of this middle section and build up tension before the return to the original melody.
Fig. 7 F. Chopin Nocturne Op. 62 No. 2 Bars 48 - 51
Chopin also uses polyphony in the first nocturne as shown in figure 8 and it is used as a method of variation. Berkeley writes: ‘the original melody continues underneath a new figure that gives fresh impetus to the music.’ The listener feels briefly uplifted compared to the more melancholy sound of the opening section and what follows.
Fig. 8 F. Chopin Nocturne Op. 62 No. 1 Bars 11 - 14
Chopin’s essential stylistic features can be summarised as freedom of melodic line and a bel canto style, much use of ornamentation and appoggiaturas, and use of chromaticism and counterpoint. The two Nocturnes which form Opus 62 have all of these features in them as this essay has cited. For Kleczyński to write that Chopin had “enfeebled creative power” at the time of writing these pieces seems ludicrous. He is not alone in his opinions; however, as Neicks claims that they reflect the composer’s poor state of health which again, after the analysis of this essay and upon listening to the pieces seems fatuous.
Samson contradicts the statements of Kleczyński and Neicks completely by writing of Opus 62 ‘these pieces … represent the pinnacle of Chopin’s achievement.’ He not only earmarks Chopin as unique but also compares him to other great composers of the time saying that in his own way Chopin has approached the ‘“developing variation” of Brahms and Schoenberg and the “dissonant counterpoint” of Mahler’ and yet these pieces are also typical of Chopin’s ‘highly individual stylistic world.’ This essay shows that on the whole Kleczyński’s opinion of enfeebled creative power is not valid.
It is sad to think that these beautiful pieces, so full of Chopin’s essential stylistic features, may have been forgotten had everyone believed Kleczyński or took the advice of Neicks when he said that the Nocturnes of Opus 62 were ‘not worth dwelling upon.’
Bibliography:
Chopin, F. ed. Thomas Fielden & Harold Craxton, Nocturnes (London: Associated Board of the Royal Schools of Music Publishing, 1960)
Collins English Dictionary (London: Harper Collins Publishers, 1999)
Eigeldinger, Jean-Jacques, Chopin Pianist and Teacher (Cambridge: Cambridge University Press, 1986)
Hedley, Arthur, The Master Musicians: Chopin (London: J. M. Dent & Sons Ltd., 1974)
Nicholas, Jeremy, Chopin His Life & Music (Norfolk: Naxos Books, 2006)
Samson, Jim, ed., The Cambridge Companion to Chopin (Cambridge: Cambridge University Press, 1992)
Samson, Jim, Master Musicians: Chopin (Oxford: Oxford University Press, 1998)
Taylor, Eric, The AB Guide To Music Theory Part II (London: Associated Board of the Royal Schools of Music Publishing Ltd., 1991)
Walker, Alan, ed., Chopin Profiles of the Man and the Musician (London: Barrie & Rockcliff Ltd., 1966)
Discography:
Chopin, F. The Complete Nocturnes, Daniel Barenboim (1982. Compact Disc. Polydor 453 022-2)
Zofia Chechlińska, Chopin Reception in nineteenth-century Poland from The Cambridge Companion to Chopin ed. Jim Samson (Cambridge: Cambridge University Press, 1992), p. 215.
Lennox Berkeley, Nocturnes, Berceuse, Barcarolle from Chopin Profiles of the Man and the Musician ed. Alan Walker (London: Barrie & Rockcliff Ltd. 1966), p. 182
Jean-Jacques Eigeldinger, Chopin Pianist and Teacher (Cambridge: Cambridge University Press, 1986), p.15
Jim Samson, Master Musicians: Chopin (Oxford: Oxford University Press, 1998), p. 265
F. Chopin, Nocturnes ed. Thomas Fielden & Harold Craxton (London: Associated Board of the Royal Schools of Music Publishing, 1960), p. 5
Samson, Master Musicians, p. 264
Eigeldinger, Chopin, p. 19
Collins English Dictionary (London: Harper Collins Publishers, 1999) p. 141
Eigeldinger, Chopin, p. 19
Arthur Hedley, The Master Musicians: Chopin (London: J. M. Dent & Sons Ltd, 1974) p. 154
Eigeldinger, Chopin, p. 15
Berkeley, Nocturnes from Chopin ed. Walker, p. 182
Eric Taylor, The AB Guide To Music Theory Part II (London: Associated Board of the Royal Schools of Music Publishing Ltd. 1991), p. 118
Samson, Master Musicians, p. 264
Chopin ed. Fielden & Tovey, Nocturnes, p. 5
Berkeley, Nocturnes from Chopin ed. Walker, p. 182
Taylor, Theory Book II, p. 126
Berkeley, Nocturnes from Chopin ed. Walker, p. 182
Jeremy Nicholas, Chopin His Life & Music, (Norfolk: Naxos Books, 2006), p.226
Samson, Master Musicians, p. 264
Samson, Master Musicians, p. 265
Chechlińska, Chopin from Cambridge Companion ed. Samson, p. 215.