The first Chopin piece to appear on the blog! Although I've only learned a few Chopin nocturnes (and the last time I learned one was several years ago), I really enjoy listening to so many of them. I particularly enjoy the recordings by Rubinstein, Pollini, and Biret. Here's a recording of Pollini's rendition of Chopin's Nocturne in D♭ Major, Op.27 No.2. Some of my favorite moments:
- (0:00) The opening with the gently undulating accompaniment, followed by Pollini's tender entrance with the melody, is so serene.
- (0:57) I like the second strain of the second melody in e♭ minor, with its ornamentation, and the resulting descent into d♭ minor (especially the resolution of e♭ø7 to A♭7 at 1:22).
- (2:15) The sudden modulation from D♭ major into A major is particularly exciting.
- Even though the d#ø7 chord (2:32) leads a transition into c# minor (2:39), Chopin chooses to digress yet again rather than easily coming back to D♭ major.
- After navigating a harmonically daring transition (2:43), Chopin takes a detour in e♭ minor (2:49). Listen for the metallic ring of the low sforzando B♭ and C♭ in this phrase...
- ...and the upwards chromatic motion of the bass notes (C♮, C#, D♮) at 2:56.
- (3:23) Note how incredibly leggiero (It: "light") Pollini plays this characteristically Chopinesque flourish.
- (3:52) This beautiful phrase (I64—vi—I6—ii65—V4) and the arpeggio on A♭sus4 (V4) is as melting as it is resolute.
- (4:08, 4:24) The chromatically descending diminished chords in the stratospheric 'sparkly' region of the keyboard are interesting.
- (5:07) Simple and gorgeous dolcissimo ending.
Excerpts from Breitkopf und Härtel edition via IMSLP.org.
- (0:00) The opening with the gently undulating accompaniment, followed by Pollini's tender entrance with the melody, is so serene.
- (0:57) I like the second strain of the second melody in e♭ minor, with its ornamentation, and the resulting descent into d♭ minor (especially the resolution of e♭ø7 to A♭7 at 1:22).
- Even though the d#ø7 chord (2:32) leads a transition into c# minor (2:39), Chopin chooses to digress yet again rather than easily coming back to D♭ major.
- After navigating a harmonically daring transition (2:43), Chopin takes a detour in e♭ minor (2:49). Listen for the metallic ring of the low sforzando B♭ and C♭ in this phrase...
- ...and the upwards chromatic motion of the bass notes (C♮, C#, D♮) at 2:56.
- (3:23) Note how incredibly leggiero (It: "light") Pollini plays this characteristically Chopinesque flourish.
- (3:52) This beautiful phrase (I64—vi—I6—ii65—V4) and the arpeggio on A♭sus4 (V4) is as melting as it is resolute.
- (4:08, 4:24) The chromatically descending diminished chords in the stratospheric 'sparkly' region of the keyboard are interesting.
- (5:07) Simple and gorgeous dolcissimo ending.
Excerpts from Breitkopf und Härtel edition via IMSLP.org.
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