Two Nocturnes, Op.37

No.1 in G minor

No.2 in G major

Although there is often a hint of opera in Chopin’s nocturnes, there is nothing quite as evocative of the opera house as Op.37, No.1, in G minor. In this case it is a matter not only of the vocal decorations and expressive syncopations applied to the lamenting soprano line. There is also an E flat major chorale sounding off-stage, so to speak, to bring the heroine spiritual encouragement in her hour of need. As she repeats her aria in a shortened but none the less despondent form, she appears inconsolable. But just at the end - in a change of harmony reminiscent of the baroque tierce de picardie but with a more emotive effect than that - G minor quietly melts into G major.

The G major Nocturne, which was also completed at Nohant in 1839, is not so much operatic as aquatic. Beginning as as a barcarolle, its melody rippling cheerfully in thirds and sixths over a 6/8 accompaniment, it includes a sadly reflective episode in the relative minor which, however, needs little persuasion from the barcarolle material to change its mood and reappear in G major. A brief recall of both thematic elements confirms a happy ending which was never much in doubt.