Uploaded September 2020 | Updated September 2026, 2 weeks ago
Nocturne Op.62 No.1 in B Major - Chopin (Music box version)
Hope you enjoy the video!
The two Nocturnes Op. 62 by Frédéric Chopin were published in 1846 and dedicated to Mdlle. R. de Konneritz.
One of his last works, the Nocturne in B major opens with what might be described as a bard's striking of the strings. After the simple introductory chords, a simple melody in B major emerges. At first, the action proceeds gently and smoothly (dolce, legato). But the song soon turns into declamation, led by a lofty, dramatic raised voice, and after a flashy scale in the right hand, Chopin leads us to the B section of this ternary formed (ABA) nocturne.
The middle section is filled by that sostenuto (in A flat major, rather foreign from the key of B major), but preceding this section, the music is hesitant and pauses. This B section then begins softly, not strong or explosive as is often the case in the middle section of a nocturne. On the contrary, it is slightly disturbed, inhibited, unease triggered by the play of syncopation of the left hand chords. Chopin ends the sostenuto with extreme harmonic subtlety and delicacy.
The main section of the Nocturne comes again by pivoting through the note D#/E-flat, which is re-understood from B section's A-flat to the home key of B major. Furthermore, this opening melody is embellished by continuous figuration including many trills, grace notes and runs. This embellishment is similar to an Italian da capo aria, in Italian bel canto style: when the principal melody returned, the singer had not just the right, but the duty to embellish it in the most elaborate way possible, flaunting his vocal skills.
The main theme ends with a solid resolution in B major, however there is a particularly long coda in this nocturne. This coda features a number of legato, languid arpeggi which never take us far from B major. Finally, the coda ends with a simple harmonic phrase which is quite peaceful, given the rather mysterious and enigmatic drama of the complex nocturne.
In the Anglo-Saxon world, the B major Nocturne has been given the name of an exotic greenhouse flower: ‘Tuberose’. James Huneker explains why: ‘the chief tune has charm, a fruity charm’, and its return in the reprise ‘is faint with a sick, rich odor’.
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Nocturne Op.62 No.1 in B Major - Chopin (Music box version)
Hope you enjoy the video!
The two Nocturnes Op. 62 by Frédéric Chopin were published in 1846 and dedicated to Mdlle. R. de Konneritz.
One of his last works, the Nocturne in B major opens with what might be described as a bard's striking of the strings. After the simple introductory chords, a simple melody in B major emerges. At first, the action proceeds gently and smoothly (dolce, legato). But the song soon turns into declamation, led by a lofty, dramatic raised voice, and after a flashy scale in the right hand, Chopin leads us to the B section of this ternary formed (ABA) nocturne.
The middle section is filled by that sostenuto (in A flat major, rather foreign from the key of B major), but preceding this section, the music is hesitant and pauses. This B section then begins softly, not strong or explosive as is often the case in the middle section of a nocturne. On the contrary, it is slightly disturbed, inhibited, unease triggered by the play of syncopation of the left hand chords. Chopin ends the sostenuto with extreme harmonic subtlety and delicacy.
The main section of the Nocturne comes again by pivoting through the note D#/E-flat, which is re-understood from B section's A-flat to the home key of B major. Furthermore, this opening melody is embellished by continuous figuration including many trills, grace notes and runs. This embellishment is similar to an Italian da capo aria, in Italian bel canto style: when the principal melody returned, the singer had not just the right, but the duty to embellish it in the most elaborate way possible, flaunting his vocal skills.
The main theme ends with a solid resolution in B major, however there is a particularly long coda in this nocturne. This coda features a number of legato, languid arpeggi which never take us far from B major. Finally, the coda ends with a simple harmonic phrase which is quite peaceful, given the rather mysterious and enigmatic drama of the complex nocturne.
In the Anglo-Saxon world, the B major Nocturne has been given the name of an exotic greenhouse flower: ‘Tuberose’. James Huneker explains why: ‘the chief tune has charm, a fruity charm’, and its return in the reprise ‘is faint with a sick, rich odor’.
From Wikipedia, the free encyclopedia
━━━━━━━━━━━━━━━━━━
SUBSCRIBE : bit.ly/37O2glB
━━━━━━━━━━━━━━━━━━
