Chopin improved upon the foundations laid by Field through his distinct “dreamy bel canto style” melodies inspired by the “large melodic spans and potent emotional content” of the Bellini operas (173). 2) is often considered one of his best nocturnes, as well as a far superior follow-up to those of John Fields, an Irish composer and pianist who first realized the concept of the nocturne in 1814 along with its common characteristics: “a somewhat melancholy style, with an expressive, dreamy melody over broken-chord accompaniment” (Berkeley 173). Published in 1833 and dedicated to French pianist and teacher Camilla Pleyel, Nocturne in E flat major (Op. Waltz-like accompaniment gently emphasizes 12/8 meters, 12 beats for size are divided into four groups with 3 beats each.Analysis of Frederic Chopin’s Op. The sonorous foundations for melody lines are provided by notes which are widely placed in the accompaniment, connected by the damper pedals. Nocturne also includes subordinate melodies, which are played with rubato. With each repetition, this varies with increasingly complicated decorative tones and sounds. This melody is heard again three times during the song. The Nocturne in the E-flat major opens with a legato melody, mostly played by the piano, containing a graceful upward jump that becomes wider and wider as the line is opened. The penultimate bar uses considerable rhythmic freedom, indicated by instructions, senza tempo (without tempo). Parts A and B become increasingly decorated with each repetition. This famous nocturne is in the form of a round binary (A, A, B, A, B, A) with coda, C. Chopin compiled the most famous Nocturne in the E-flat major, Op.
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