Classical Music | Violin Music

Recorded on 11/25/2014, uploaded on 11/25/2014

Musician's or Publisher's Notes

Nocturne in C-Sharp minor, B.49      Frédéric Chopin, arranged by Nathan Milstein

Originally for solo piano, this work was written in 1830 and dedicated by Chopin to his older sister “as an exercise before beginning the study of [his] second piano concerto.” The left hand plays hushed arpeggiated chords almost throughout the piece, coloring the haunting melody. It is rumored that the piece was played by Holocaust survivor Natalia Karp for a Nazi concentration camp commandant, who was so impressed that he spared her life. It was transcribed for violin and piano by Nathan Milstein.      Stella Chen

_____________________________________

Whereas John Field invented the Nocturne—a short composition for piano, adhering to no set formal pattern and designed to evoke a particular mood without text or programme—Chopin popularized it. His twenty-one Nocturnes, two of which were published posthumously, are staples of the piano literature and brilliantly showcase the expressive qualities of the instrument.

The first of Chopin’s Nocturnes to be published posthumously, that in C-sharp minor, was actually composed in 1830, the same year as his Second Concerto for the piano. Indeed, Chopin dedicated the short composition to his older sister, Ludwika, with the inscription, “To my sister Ludwika as an exercise before beginning the study of my second Concerto.” Opening with a twice-repeated chordal passage in the dusky key of C-sharp minor, an immediate sense of despair is established, prevailing over the entire composition. Following the conclusion of this brief introduction, a legato melody full of pathos sounds from the right hand while the left provides a steady broken chord accompaniment. This simple almost song-like texture dominates much of the piece. At the conclusion of the Nocturne’s first section, a descending monophonic line in the bass leads into the key of A major. However, this transition to the major key is but short-lived and the key of F-sharp minor soon after takes hold. Maintaining the same mood as before, the middle section adopts a slightly more active rhythm in its melody as well as also embellishing it with additional harmonies. Rounding out the ternary design of the Nocturne, the first section returns somewhat modified. The melody eventually comes to rest on G-sharp over alternating tonic and dominant harmonies before concluding in a beautiful and ethereal Picardy third.      Joseph DuBose

Courtesy of International Music Foundation.