Composers › Frédéric Chopin › Programme note
Two Nocturnes Op.62 (1846)
Gerald Larner wrote 4 versions of differing length — choose one below.
No.1 in B major
No.2 in E major
Chopin’s last two Nocturnes, written in 1846 round about the time of the end of his relationship with George Sand, are perhaps the most beautiful of them all. In the first part of the Nocturne in B major the main theme is presented in a comparatively simple form, though not without the intervention of a florid nightingale in D sharp minor. On its return after the A flat major middle section, the main theme is preceded by a long trill and then most voluptuously elaborated by a whole string of trills and grace notes on every melodic inflection. The ecstatic pause, following the reappearance of the main theme and before the return of the nightingale, is one of the most eloquent silences in music.
In the style and shape of its opening theme, Op.62, No.2, seems to revert to the manner of the earlier nocturnes. But after the modulations it experiences as it is developed, and after an unsettling agitato middle section, the main theme is unable to recover its original E major serenity. The agitato material is left with the responsibility of resolving the conflict with C sharp minor.
From Gerald Larner’s files: “Nocturnes, Op.62/1-2/w189”
chopin: nocturnes, Op.62
Frédéric Chopin (1810-1849)
Two Nocturnes, Op.62
No.1 in B major
No.2 in E major
Chopin’s last two Nocturnes, written in 1846 round about the time of the end of his relationship with George Sand, are perhaps the most beautiful of them all. In the first part of the Nocturne in B major the main theme is presented in a comparatively simple form, richly harmonised and counterpointed though it is. It is interrupted by a florid nightingale in D sharp minor and repeated. After the A flat major middle section, the main theme returns, preceded by a long trill and most voluptuously elaborated by a whole string of trills and grace notes on every melodic inflection. The ecstatic pause, following the reappearance of the main theme and before the return of the nightingale, is one of the most eloquent silences in music.
In the style and shape of its opening theme, Op.62, No.2, seems to revert to the manner of the earlier nocturnes. But after the modulations it experiences as it is developed, and after an unsettling agitato middle section, the main theme is unable to recover its original E major serenity. The agitato material is left with the responsibility of resolving the conflict with C sharp minor.
From Gerald Larner’s files: “Nocturnes, Op.62/1-2/w192”
chopin: nocturnes, Op.62
Frédéric Chopin (1810-1849)
Two Nocturnes Op.62 (1846)
No.1 in B major
No.2 in E major
Though written in emotionally fraught circumstances in 1846, shortly before the end of his relationship with George Sand, Chopin’s last two nocturnes are perhaps the most beautiful of them all. Certainly, the Nocturne in B major is comparable only with that in E flat major Op.55 No.2, for the ecstatic quality of its piano writing. The first part of Op.62 No.1 presents the main theme in a comparatively simple form, richly harmonised and counterpointed though it is. It also includes, on the other hand, a short but florid episode for a fantasy nightingale in D sharp minor. After an A flat major middle section inspired more by harmonic than decorative enterprise, the main theme returns, preceded by a long trill and then most voluptuously elaborated with a whole series of trills covering every note of the melody. The nightingale is heard again towards the end of the piece, entering in D sharp minor as before but finally turning to B major by way of some extraordinarily exotic inflections in its extended vocal line.
In the style and shape of its opening theme Op.62 No.2 seems to revert to the manner of the earlier nocturnes. But after the modulations it experiences as it is developed, and after an unsettling agitato middle section provoked by a suddenly eloquent left hand, the main theme is unable to recover its original E major serenity. So it is up to the eloquent left hand to resolve the harmonic ambiguities – which it eventually, if a little unwillingly, does.
From Gerald Larner’s files: “Nocturnes, Op.62/1-2/w251”
No.1 in B major
No.2 in E major
Though written in emotionally fraught circumstances in 1846, shortly before the end of his relationship with George Sand, Chopin’s last two nocturnes are perhaps the most beautiful of them all. Certainly, the Nocturne in B major is comparable only with that in E flat major Op.55 No.2, for the ecstatic quality of its piano writing. The first part of Op.62 No.1 presents the main theme in a comparatively simple form, richly harmonised and counterpointed though it is. It also includes, on the other hand, a short but florid episode for a fantasy nightingale in D sharp minor. After an A flat major middle section inspired more by harmonic than decorative enterprise, the main theme returns, preceded by a long trill and then most voluptuously elaborated with a whole series of trills covering every note of the melody. The nightingale is heard again towards the end of the piece, entering in D sharp minor as before but finally turning to B major by way of some extraordinarily exotic inflections in its extended vocal line.
In the style and shape of its opening theme Op.62 No.2 seems to revert to the manner of the earlier nocturnes. But after the modulations it experiences as it is developed, and after an unsettling agitato middle section provoked by a suddenly eloquent left hand, the main theme is unable to recover its original E major serenity. So it is up to the eloquent left hand to resolve the harmonic ambiguities – which it eventually, if a little unwillingly, does.
From Gerald Larner’s files: “Nocturnes, Op.62/1-2.rtf”