A minor (2') E minor (3' 30") Three Écossaises, op. 30 3. 7 2. 41 3. Other composers such as Mendelssohn, Schumann, and Liszt described the genius that lay within Chopin's nocturnes. C minor (6') Four Mazurkas, op. Ia/2–3 1. Scherzo no. 6. 64 3. 15 2. E minor (2') 3 in B minor, op. Mazurka in B-flat major, KK IIa/3 (1') 27 2. F-sharp minor (7') 50 2. Twenty-four Préludes, op. «Reply #10 on: April 15, 2012, 01:50:34 AM », Quote from: turangalila on April 12, 2012, 04:13:03 PM, Quote from: alsimon on April 14, 2012, 08:49:59 AM. Also, Chopin further developed the structure of the nocturne, taking inspiration from the Italian and French opera arias, as well as the sonata form. C-sharp minor (0' 30") but I have never seen one about the Nocturnes. Twelve Études, op. 25 9. 62 2. A-flat major (2' 30") D minor (6') C-sharp minor (3' 30") 3 in C-sharp minor, op. E-flat major (4' 30") Twenty-four Préludes, op. Ballade no. 10 5. Three Mazurkas, op. 28 3. Three Valses, op. 36 (6') A minor (4') Allegretto in A major, KK VIIb/7 (1') Mazurka in G major, KK IIa/2 (1' 30") B major (6' 30") Four Mazurkas, op. 9 in B major is Chopin's only nocturne in a major key that ends on a minor key (in this case, B minor), although some performers, such as Arthur Rubinstein, end the piece on a B major chord instead. 67 2. C-sharp minor (2' 30") A minor (first version) (2' 30") F minor (2' 30") Scherzo: Molto vivace (2' 30") 3 1. Four Mazurkas, op. Trois nouvelles études, KK IIb/3 1. 67 1. Twelve Études, op. Valse in E major, KK IVa/12 (2' 30") Three Nocturnes, op. E-flat major (1' 30") Ia/2–3, Allegretto in A major and Mazurka in D minor, KK VIIb/7–8, Contredanse in G-flat major, KK Anh. In his youth, Chopin was often told that he sounded like Field, who in turn was later described as sounding "Chopinesque". 27 No. 72 no. Sonata no. 56 2. 10 7. 2 (from Chopin - Nocturne op.9 No.2) Iulian renamed Chopin - Nocturne op.9 No.2 (from 1) Iulian changed description of 1 7 5. B major (0' 30") 5 as one of the hardest. Sonata no. Variations brillantes, op. 1) stands on the surface of the music, altered only minimally by melodic embellishments, Andantino in G minor, op. From the 7th and 8th nocturnes onwards, Chopin published them in contrasting pairs, although each can stand alone as a complete work. E-flat major (5') Two Nocturnes, op. 29 (4') 23 (9') 2 in E ♭ major and the Op. The use of the melody as vocals bestowed a greater emotional depth to the piece, drawing the listener in to a greater extent. Three Mazurkas, op. 9, No. 25 2. 4 3. Five Mazurkas, op. 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.. 28 2. E-flat minor (0' 30") 27 No. When first published, Chopin's nocturnes were met with mixed reactions from critics. G-sharp minor (1' 30") C-sharp minor (2') [10] Exceptions to the ternary form pattern include Opus 9 No. D-flat major (6') Two Nocturnes, op. 6 4. E-flat major (2' 30") 28 1. 1 in F minor No. williampiano, I have nothing against your opinion that op 62 ones are more challenging, but according to me the op 48/1 is the most challenging nocturne by far, and just as difficult as many of the Chopin Etudes. Valse in E minor, KK IVa/15 (3') 40 1. E-flat major (5') 28 17. 25 4. Three Valses, op. 24 4. 28 11. 50 3. Allegro maestoso (10') C major (1' 30") B major (6' 30") 2 and Op. 50 1. «Reply #6 on: April 14, 2012, 08:49:59 AM », «Reply #7 on: April 14, 2012, 08:55:37 AM ». Four Mazurkas, op. 25 11. 33 3. Two Valses, op. C major (0' 30") Scherzo (6') Galop Marquis in A-flat major, KK IVb/13 (1') B major (5') Four Mazurkas, op. 9 3. A minor (1' 30") Fantaisie in F minor, op. Menuetto: Allegretto (4') G major (2' 30") 41 1. 3 in binary form with a novel coda, and Op. Sonata no. Prélude in F major and Andantino in D minor, KK Anh. Twenty-four Préludes, op. 1 in C minor, op. Two Polonaises, op. C minor (2' 30") Nocturne in C minor, KK IVb/8 (3') 68 3. Page created in 0.048 seconds with 34 queries. Having played many of the Nocturnes, this is how I would rank them, from hardest to easiest. Two Nocturnes, op. B-flat minor (4' 30") Finale: Presto, non tanto (5') Polonaise in A-flat major, KK IVa/2 (4' 30") midi genres/directions. A minor (4') Sonata no. C major (1' 30") Marche funèbre, op. F-sharp minor (3' 30") Marche funèbre: Lento (7' 30") [12] It is clear that these short piano compositions made a noticeable and lasting impact on music and composition during the romantic period. 28 16. D major (0' 30") Nocturne in C-sharp minor, KK Anh. B minor (4') Hi! Tarantelle in A-flat major, op. Twelve Études, op. Mazurka in D major, KK IVb/2 (1' 30") 4 in E major, op. Two Nocturnes, op. A-flat major (5' 30") 67 3. 72 no. A-flat major (5') Two Nocturnes, op. 5 (8' 30") Four Mazurkas, op. 61, Variations sur Là ci darem la mano de Don Juan de Mozart, op. Eventually, the young Chopin became a great admirer of Field, taking some influence from the Irish composer's playing and composing technique. 3 3. By the time of Chopin's birth in 1810, John Field was already an accomplished composer. Variations on a German national air, KK IVa/4 (8'), Twelve Études, op. 56 1. 28 6. 2 6 Nocturne B major op. Twenty-four Préludes, op. 1 in C minor, op. 4 in F minor, op. [3] It was mainly through these themes of operatic influence, freer rhythms, and an expansion into more complex structures and melodic playing that Chopin made his mark on the nocturne. Two Polonaises, op. Valse in A-flat major, KK IVa/13 (1' 30") Berceuse in D-flat major, op. Nocturnes Op. Cantabile in B-flat major, KK IVb/6 (1') 42 (4') I'll say opus 15 no. 32, No.2. 1 6 Nocturne D flat major op. Sonata no. Presto (1' 30") Two Nocturnes, op. B-flat major (2') Two Valses, op. G major (5' 30") A minor (2' 30") Valse in E-flat major, KK IVa/14 (2' 30") 25 6. Three Nocturnes, op. E-flat minor (0' 30") C-sharp minor (5') Two Nocturnes, op. Grande Polonaise brillante (8' 30"), Prélude in F major and Andantino in D minor, KK Anh. 28 22. [6] While Chopin held Field in high respect and considered him one of his primary influences, Field had a rather negative view of Chopin's work. Three Valses, op. Four Mazurkas, op. 2 6 Nocturne A flat major op. Twenty-four Préludes, op. 27, No. Three Mazurkas, op. Two Nocturnes, op. 32 1. «Reply #9 on: April 14, 2012, 12:29:17 PM ». A-flat major (2' 30") E-flat minor (8' 30") 34 1. A-flat major (2' 30") 51 (5') 7 3. However, through the process of time, many who had initially been displeased with the nocturnes found themselves retracting previous criticisms, holding the short compositions in high regard.[11]. 13 in C minor and No. 40 2. Three Mazurkas, op. G minor (4' 30") Twelve Études, op. 37 No. B-flat major (7' 30") G minor (1') Twenty-four Préludes, op. Twelve Études, op. [7] With these main attributes of the "Field nocturne" Chopin was inspired, and expanded upon them to develop the "Chopin nocturne". 63 1. 33 4. A great Romantic composer, who nevertheless wrote absolute music with formal titles such as Mazurkas, Impromptus, Waltzes, Nocturnes. 55 1. 1 (8' 30") 25 3. 71 2. 28 8. 9 1. 2 in E♭. 55 no. Four Mazurkas, op. A-flat major (3') 30 2. Four Mazurkas, op. 25 8. Three Valses, op. Allegretto in A major and Mazurka in D minor, KK VIIb/7–8 1. Four Mazurkas, op. Three Mazurkas, op. G minor (2' 30") Fugue in A minor, KK IVc/2 (2' 30"), Four Mazurkas, op. 63 3. Three Polonaises, op. Four Mazurkas, op. C minor (1' 30") 10 9. 10 1. C minor (5' 30") 10 8. C minor (1' 30") 53 (7') 2 6 Nocturne E flat major op. Twelve Études, op. Grave – Doppio movimento (7') Another notable feature of Chopin's nocturnes is that all but three of the pieces end in a major key. 59 2. 5+ Nocturne f minor op. Mp3 "Nocturne No.2 Op.55" performed by Donald Betts (Public domain from musopen.com) Sheet central : Deux Nocturnes (11 sheet music) Added by FS the 2006-04-21: 0 comment Your pseudo: You accept the ... Nocturnes Op. 61 (13') F-sharp minor (3') Valse in A minor, KK IVb/11 (2' 30") Andantino in D minor, KK Anh. Twenty-four Préludes, op. F minor (3') 48 1. Twenty-four Préludes, op. Barcarolle in F-sharp major, op. 9 2. Twelve Études, op. D-flat major (1') Four Mazurkas, op. 2 6 Nocturne E major op. Three Écossaises, op. A-flat major (5') C minor (2' 30") Allegretto in A major and Mazurka in D minor, KK VIIb/7–8 2. Four Mazurkas, op. Instead, the opening measures of Op. 27 1. Ia/2 (1'), Five Mazurkas, op. Prélude in F major and Andantino in D minor, KK Anh. Twenty-four Préludes, op. 17 2. About 'Nocturne Op.55 No.2' Artist: Chopin, Frédéric (sheet music) Born: 1810 , Zelazowa Wola, Poland Died: 1849 , Paris The Artist: Polish composer renowned for his piano works. 16 (10') 26 2. 48 2. A major (5') C major (0' 30") F minor (2') B minor (2') C-sharp minor (8') Four Mazurkas, op. Ia/6 (5' 30") Impromptu no. [9] Repetitions of the main theme generally add increasingly ornate embellishments, notably in Opus 9 No. D minor (2' 30") Various composers from both Chopin's lifetime and later have expressed their influence from his work with nocturnes. 57 (4' 30") Five Mazurkas, op. Chopin composed his best-known Nocturne in E-flat major, Op. 6 1. C major (1' 30") [5] The composer Friedrich Kalkbrenner, one of Chopin's early influences, once inquired as to whether Chopin was a student of Field. 37 1. 24 2. 17 3. Twelve Études, op. Four Mazurkas, op. [6] Nonetheless, Chopin still admired Field and his work and continued to take inspiration throughout his life. 43 (3' 30"), Ballade no. 32 2. Nocturnes, Op.15 (Chopin, Frédéric) Movements/Sections Mov'ts/Sec's: 3 nocturnes Composition Year 1830-33 Genre Categories: ... Nocturnes, Op.55. Four Mazurkas, op. 3 in B minor, op. 68 4. 33 1. Valse in A-flat major, op. 72 no. Sonata no. Four Mazurkas, op. 2 in F major, op. Twenty-four Préludes, op. 55, No. D-flat major (0' 30") 7 2. A further innovation of Chopin's was his use of counterpoint to create tension in the nocturnes, a method that even further expanded the dramatic tone and feel of the piece itself. 55 No. 25 10. I have seen so many threads with discussions about the order of difficulty of Chopin's Scherzi, Ballades, Etudes, Preludes etc. No. [3] Along with the right-hand melody, Chopin continued the use of another nocturne "necessity", that of playing broken chords on the left hand to act as the rhythm under his right-handed "vocal" melody. Impromptu no. 10 12. 1 in C minor, op. Four Mazurkas, op. A minor (2') Trois nouvelles études, KK IIb/3 2. Twenty-four Préludes, op.
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