Frédéric Chopin Nocturne No. 20 in B-flat Minor, op. 9, no. 1

Step One—Historical Background

Frédéric Chopin was born in Warsaw, Poland on March 1, 1810 during the era of Romantic music. He was thought of as one of the great masters of Romantic music and he was considered one of the greatest Polish composers and virtuoso pianists of his time. His father was a flautist and a pianist; his mother was a pianist and taught at the Chopin’s elite boarding house. Growing up in an artistic family, Chopin was demonstrating innate, musical talent and a remarkable ability for mimicry at an early age. He composed his first Polonaises’ at the age of seven.

On November 2, 1830, at the age of 20, he left Warsaw for Austria. He hoped to arrive in Italy later on. But because of the Polish November Uprising, Chopin became a refugee of the Polish Great Emigration. It was because of these events that he realized the true beauty of Poland. This influenced his compositions from that point on.

In September 1831, Chopin arrived in Paris and began taking lessons from Friedrich Kalkbrenner. He was accepted into a community of artists and other distinguished company such as: Hector Berlioz, Franz Liszt, Vincenzo Bellini, Ferdinand Hiller, Mendelssohn, Heinrich Heine, Eugène Delacroix, Prince Adam Jerzy Czartoryski, Alfred de Vigny, and Charles-Valentin Alkan. This gave him many opportunities to put his talents on display. Despite his popularity, he rarely gave public performances in Paris. Instead, he preferred to perform in his private apartment for his friends. He received a high income from teaching and composition which freed him from the necessity of performance.

Although he was involved in a slew of terrible romances, a lot of his compositions were based on his experiences. His Waltz in A-flat major (“The Farewell Waltz), the Étude in F minor, which he described as “a portrait of Maria’s soul” and the seven songs that he set to poems written by poets Stefan Witwicki, Józef Zaleski and Adam Mickiewicz were dedicated to Maria Wodziński after a broken engagement.

In his final years, his public popularity as a virtuosic pianist and his popularity amongst his pupils began to wane. In February 1848, he gave his last concert in Paris and left for London with the Revolution of 1848. He returned to Paris at the end of November 1848. He continued to compose even though he could not continue performing. On Wednesday October 17, 1849, Chopin passed away in his Paris apartment.

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Daniel Barenboim was born on November 15, 1942 in Buenos Aires, Argentina. He lives in Berlin and is a critically acclaimed pianist and conductor. He has played a fundamental role in introducing classical music to a wider audience. In addition to his classical music triumphs, he has also been an opponent of the Israeli settlements and of the Israeli government as a supporter of Palestinian rights.

He started playing piano at the age of five and gave his first formal concert at the age of seven in Buenos Aires. In 1952, he moved to Israel with his family and in the summer of 1954, he began studying conducting with Igor Markevitch in Salzburg. In 1967, Barenboim made his conducting debut with the Philharmonia Orchestra in London, which has led to international renown.

Step Two—Open Listenings

This particular Chopin Nocturne is characterized by rhythmic freedom. The right hand moves freely with patterns of eleven, twenty and twenty-two notes in parts of the piece. There are three major sections in the piece: the opening theme, the middle segment and a return to the opening theme. The opening melody is developed and stretched through the first two minutes with arpeggios and scalar flourishes. The middle section is much more triumphant, with octaves frequenting the right hand. The range between the left hand and the right hand also grows larger as excitement is built. We return to the opening theme, which closes off the piece.

Step Three—Syntax

- Measures #1-6 are in B-flat minor

- Measures #6-7.5 are in D-flat major and we modulate back to B-flat minor from measures #7.5-9.5

- Measures 9.5-13.5 return to B-flat minor

- Measures 13.5 to 15 move to E-flat minor with the D-natural note in measure #14 acting as a leading tone

- Measures #15-20 modulate to back to B-flat minor with inversions of the chord arpeggiated between the right and left hand

- A majority of the middle section is in D-flat major, with various diatonic and chromatic chords

- In measures #66-68 we are still in D-flat major

- In measures #68-71.5 we modulate back into B-flat minor

- We stay in B-flat minor from measures 71.5-76

- In measures #76-78 we are in E- flat minor

- In measures #78-85 we are back in B-flat minor

- In measures #85-end we are in B-flat major (also known as a 'Picardy Third')

Step Four—The Sound-in-Time

In the second measure, a diminuendo in the following descending eight-notes follows the crescendo during the repeated F-naturals. In the third measure, there is a tenuto marking on the D-flat that is released on the following B-flat. This is a gesture that is repeated throughout the Nocturne.

(meas. 2-3.5)

The opening theme is developed throughout the Nocturne using fiorituri, which is notated as eighth notes. They are rhythmically irregular because of the division between the right and the left hand. The dynamic shape of the melodic line is also at issue, because of their ascending and descending pattern.

(meas. #11.5-13)

The middle section is marked pianissimo, with accents on the half notes in measures 21 and 22 (and in similar moments later on).

(meas. #21-23)

Chopin uses frequently uses accents in the Nocturne, some of which can be considered as tenuto markings. Accents are placed on the strong beats in measures 52, 54 and 71.

(meas. #52)

(meas. #54)

(meas. #72)

The accent placed on the G-flat in measure 76 indicates that the note is more harmonically and melodically important.

(meas. #76)

Step Five—Representation

A nocturne is generally a musical composition that is inspired by night. Usually, the instrumentation calls for solo piano. While Chopin’s nocturnes are characteristic of other nocturnes of his time, his nocturnes carry a unique tone of their own. For example, his rhythmic expansions are often irregular and free flowing, which is a technique based on the classical music style. He also manipulates traditional counterpoint to create tension and further expand the drama in his pieces.

Step Six—Virtual Feeling

I feel a deep sense of longing and desolation from the very first note. The line in the right hand often imitates an operatic voice by using embellishments in the expansion of the melody. The relationship between the introductory theme and its developments simply lies within the right hand ornamentations. As the piece progresses, we see how the sense of frustration intensifies through the addition of more notes and the changes in rhythmical interpretation. These passages also stretch in height, as the notes of the scale climb higher and higher.

The middle section is particularly innovative because of the subtle changes in harmony. Regardless of the spirited tone, the dissonance we hear on occasion is a mild reminder to the listener and to the performer that this moment is not to be lightly brushed aside.

The accents (or those that are treated as tenuto markings) also contribute to the sense of angst. Generally, they are used to highlight the notes that do not belong to the key or the strong beats of the measure. This pulls the rhythm as well as attracts our attention to the dissonance. These accents are also usually accompanied by tempo markings (i.e. accelerando, ritenuto) and dynamic markings (i.e. diminuendo, pianissimo). The utilization of these markings adds to the chordal texture and gives special meaning to the melodic line.

Step Seven—Onto-historical World

The average person who loves and appreciates Chopin’s work holds nothing to the Polish person who lives and breathes his music. For the Polish person, every melody, every combination of notes is history. This state of revolution has triggered an association with other artists who have suffered through the same occurrences. Chopin’s pieces represent all the irreparable loss, all the blood that was shed to prove one human being’s superiority over another.

Chopin struggled with Tuberculosis, throughout his life, a disease that killed his sister. Despite his sickliness, Chopin was an innovator, an inventor of new musical forms, like the ballade, which holds such significance in composition. His music can be categorized as Romantic, and his music is highly regarded as the cornerstone of Polish classical music. During the suppression (The Polish November 1830 uprising), Chopin was abroad. When the uprising was crushed, Chopin poured his frustrations into his composition (especially that of his Scherzo in B Minor and Revolutionary Etude). He never returned to Poland.

There is a way, an intimate manner by which those who understand and respect Chopin hear and perform his music. These are notes that cannot be hammered down like those of a Joplin Rag but notes that need to be cherished and adored with the highest quality of musicianship. Chopin is recognized as the master of harmony, an innovator. His talent in manipulating his compositions created masterpieces, music at a level where every note reaches every part of your soul. Those notes, when played correctly, take the air straight out of a person’s lungs. One cannot breathe in that moment. One cannot think or talk or wonder in that moment. One can only listen.

Step Eight—Open Listenings

Nocturnes are usually set in ternary form (A-B-A) with the melodic line floating over the texture in the right hand accompanied by bassy arpeggios in the left hand. The piece itself is very despondent, regardless of the moments of hope and the somewhat cheerful B-flat major end chord. Chopin sets the first theme in measures #1-2.5, which is developed throughout. The repeated F-naturals in measure #2 remind me of someone gently sighing. The development of the introductory theme in measures #2.5-5.5 seems desperate, like someone who is trying too hard to get their point across. The beautiful, happier moment (second theme) that is introduced in measure #5.5 is short-lived, as we soon descend back into gloom in measure #7.5.

We are reintroduced to another development of the first theme in measure #9.5, which rises higher during the peak of the scale passage than the previous occurrence. The second theme also returns in measure 13.5, but this time, it stays in the minor key. This gives the sense that it is even more anxious and frantic than before, foreshadowing future thematic events. The second theme leads up to an appassionato in measures #16, 17 and 18, each one climbing higher and higher than the last. They sound like mournful screams, each one louder and louder until measure #18, where it seems as if all loses hope and retreats defeated.

The next section sounds like a battle between two forces, sweet memories from the past and painful happenings of the present. Although a majority of measures #20-67 sound joyful and promising, there are subtle hints of the conflict. For example, between modulations, the notes used—for example the E-natural octave in measure #25, the B-flat octave in measure #26, the F-flat octave in measure #28, the E-natural octave in measure #32, etc.—while harmonically correct stick out of the texture, reminding us that everything is not in fact all right. We are brought to the climax of this section in measure #52 and it confidently reaches its peak in measure #56. Again, this is not a long-lasting victory. He repeats this heroic melody one more time, but insists on a pianissimo dynamic marking, making the tone much less optimistic. With a sforzando in measure #68, we drift back to the first theme.

The first theme remains the same, dreary and heartbreaking. It is in the development of the second theme where he changes things up. This time, instead of just three appassionato climbs in measures #78, 79, 80, he makes two more attempts to express himself. Measure #82 is a less worried cry, but the sforzando in measure 83 is reckless and terribly distraught.

We end with a drop down to a B-flat major chord, but right before the last chord, he inserts a G-flat. He resolves beautifully back to the B-flat major chord, but the G-flat is clearly a reminder that all is not as well as it seems.

Step Nine—Performance Guide

The performance of the Nocturne by Barenboim is absolutely breath taking. He is undoubtedly one of the most accomplished and spectacular pianists of our time. After listening to several recordings of other artists, of the student and professional level on YouTube and iTunes, here are several aspects of his recording that I admire. I think every performer of this piece should consider the attention he pays to the notes and what he chooses to do musically.

In the second measure, and in the various occurrences throughout the piece, the D-flat half note to the B-flat quarter note figure holds significant thematic value. Although a very minute detail, I think one should pay attention to how he articulates the lift at the end of the gesture, as well as how he performs each consequential figure afterwards. Barenboim does this exquisitely; each figure is related but not quite the same as the others. The effect is to influence the rest of the line, as there are only so many variations one can make one two notes.

The introductory melody is adorned with fiorituri, which causes many complications in the rhythmical structure. I suppose a performer would have to decide to play them absolutely rhythmical or take the right amount of liberties in order for the embellishments to sound tasteful. I’ve heard several recordings of both styles and personally, I prefer the ones performed more liberally. It imitates the characteristics of the voice much better as well as articulating a sense of the falling line. In making a decision, one should consider the ascending and descending pattern of the melodic line, as well as the tenuto markings.

In measure #16, one should pay attention to the relationship between shorter and longer rhythmic values. The triplets should come out of the texture and should not be rushed. Rushing occurs mostly during the crescendos, as the excitement causes the lighter triplets to fall away from the strong beats. They should be energetic, but appreciated.

Accelerandos and ritenutos should also be applied with care. In the beginning of the piece, I don’t think it is necessary to exaggerate these. One would want the ending of the piece to be the most dramatic part, not necessarily the beginning. Also, a performer should practice these with metronome, before applying the tempo markings as to maintain the character.

A decision should also be made regarding the difference between accents and tenutos. There is a clear distinction between the two for melodic and harmonic purposes, even though Chopin doesn’t always distinguish between the two. For example, in measures #21 and 22, and other similar passages, the accents marked on the half notes should be treated as syncopations in the rhythm, adjusting the harsher accents to softer tenutos. Playing something with a tenuto gives it a deeper, more stressed tone. One should also consider placing emphasis on notes that do not belong to the key, as the composer often places them there for motivic purposes.

Step Ten—Meta-Critique

The most crucial steps in the eclectic analysis of the Nocturne were those regarding open listening and performance. The historical analysis highlighted the importance of Chopin’s revolutionary attitude. Aside from the placement of the piece in a revolutionary setting, knowledge of with whom Chopin studied as a child doesn’t really influence one’s overall learning and presentation of the piece.

Analysis of how one would go about preparing the piece was particularly interesting because of the open listenings. Getting a sense of how different individuals approached the rhythmic changes and harmonic structure was particularly eye opening, as it would be for any piece. It was very educational to see how different interpretations functioned more or less effectively than others.