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The Nocturne No. 20 in C ♯ minor, Op. posth., Lento con gran espressione, P 1, No. 16, KKIVa/16, WN 37, is a solo piano piece composed by Frédéric Chopin in 1830 and published in 1875. Chopin dedicated this work to his older sister Ludwika Chopin , with the statement: "To my sister Ludwika as an exercise before beginning the study of my ...
Chopin composed his best-known Nocturne in E ♭ major, Op. 9, No. 2 when he was around twenty years old. This well-known nocturne is in rounded binary form (A, A, B, A, B, A) with coda, C. It is 34 measures long and written in 12 8 meter, having a similar structure to a waltz. The A and B sections become increasingly ornamented with each ...
Chopin's nocturnes carry many similarities with those of Field while at the same time retaining a distinct, unique sound of their own. One aspect of the nocturne that Chopin continued from Field is the use of a song-like melody in the right hand. This is one of the most if not the most important features to the nocturne as a whole.
Nocturne in E-flat major, Op. 55, No. 2. The second nocturne in E ♭ major features a 12 8 time signature, triplet quavers in the bass, and a lento sostenuto tempo marking. The left-hand features sweeping legato arpeggios from the bass to the tenor, while the right-hand often plays a contrapuntal duet and a soaring single melody.
The Nocturne in C minor is one of the more well known nocturnes, and has been categorized as one of Chopin's greatest emotional achievements. [ 5 ] [ 6 ] Theodor Kullak said of the piece, "the design and poetic contents of this nocturne make it the most important one that Chopin created; the chief subject is a masterly expression of a great ...
Frédéric Chopin's Nocturne No. 21 in C minor, B. 108, WN 62, is a musical work for solo piano composed in 1847-1848. [1] [2] It was the last of Chopin's nocturnes to be published, and was done so posthumously in 1938. [3] It is famous for its striking simplicity and folk-like melody.
To some, these nocturnes are not as impressive as their predecessors, the Nocturnes, Op. 27. [2] While each piece "exemplifies one of the composer's various approaches to nocturne form," Blair Johnson felt that, in the piece, the "moments of originality and power stick out in a way that they couldn't have, had the entirety of the pieces been sewn of finer silk."
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