Chopin’s Nocturne Op.9 No. 2 in E Flat Major

Chopin’s Nocturne Op.9 No. 2 in E Flat Major
In darkness, small pinpoints of light begin to shine in the abyss of the night sky. These pinpoints of light twinkle in an absent minded daze, illuminating, only slightly, the velvet curtain of never-ending midnight blue. All is quiet, still, as fireflies hum by on their own accord. The dark only holds the premise of slight melancholy in its isolation, but a settling sense of calm persists. Nightfall brings forth beauty in its mysterious nature; it is not to be feared. The term nocturne corresponds with the English word nocturnal (Perry 172), and in poetic lyricism, nocturne quite simply means music of the night (Dubal 227). When listening to a nocturne one becomes immersed with the familiar mood of nighttime, the dreamy resonance, soft moonlight. A sense of tranquil pensiveness remains at the core, leaving only a hint of remorse. Interestingly, nocturne was also used as a synonym for serenade (Perry 172). The serenade beckons ones love, whispers soft nothings into ones ear. But the nocturne can caress you with affection while in the same gesture wrap you in sorrow. Nocturnes have a wider reference of emotion that serenades. One of the most adored and well known nocturnes is Chopin’s Op.9 No.2. The piece is revered and has been played by most if not all aspiring pianists, giving the piece a kind of tainted quality due to the overplay. But the composition is still regarded as one of Chopin’s best, and a prime example of the excellence of the nocturne.
Frédéric François Chopin composed the piece between 1830 and 1832, between the ages of 20 and 22 years old (Allmusic). The piece was later published in 1832 and was dedicated to Madame Marie Pleyel. Coincidently, the wife of Camille Pleyel, a publisher and fellow piano virtuoso, had many admires in the word of music, and had many pieces dedicated in her name. Chopin was a virtuoso composer and pianist that showed particular skill from a very young age. He is considered a child prodigy along the lines of Beethoven and Mozart. Most of his major works were completed before he was 20. Sadly, however, Chopin suffered from health complications his entire life and would die at the young age of 38 (Zamoyski).
The Irish composer, John Field, would influence the works of Chopin (Allmusic), and would give way, indirectly, to one of his most well-known pieces. John Field was the first to compose the nocturne (Dubal) but it would be Chopin who would craft the nocturne into something more. He would write 20 nocturnes in his lifetime, but the most famous, and also the shortest, would be Op.9 No.2. The piece written in EbM was composed for the piano, but it has also been transcribed for the violin (Ewen 168). When listening to the piece played for violin and for piano, one is stricken by the expression of emotion present in both forms. The piano is calm and subdued, shrouding the listener in a peaceful reverie. While the violin brings forth feelings of utter sadness the piano somehow lacks. The violin nearly cries when playing the piece, giving the composition an added dimension. No matter the medium, the piece sings without words and invokes emotion. That is, in my opinion, the overall draw of nocturnes. They create a despondent mood that is also serene. How can one be both despondent while remaining serene? Countless artists, writers and musicians have connected that line for centuries. Musicians first and foremost make music to their introspective demons, or to their unfulfilled joys. Whatever emotion they put into a piece is sent back tenfold to the audience. Chopin’s nocturnes always seemed downtrodden, and it could be an insight to his personality. Whatever the reason may be, or whatever emotion the listener derives, some form of feeling is present.
Op.9 No.2 is a 34 bar (Eigeldinger) masterpiece. There are many transitions and refrains in the piece, with the main legato melody being repeated three times, which each repetition becoming more elaborate as the song continues. The piece concludes with a cadenza to sum up the passive yet passionate energy of the entire composition. It seems that every artist who performs the piece adds a dash of his own personality or passion within, giving every fresh hearing something new to discover. A musical piece is dead unless passion can be found. Some pieces inherently lack that passion, while others exude it in a verbose manner. But Op.9 No.2 straddles the boundaries of both. It seems contained but also woefully free. Perhaps Chopin intended it to be that way, but the outcome leaves the listener with a deep sense of contentment.

Works Cited
Dubal, David. The Essential Canon of Classical Music. New York: North Point, 2001. Print.
Eigeldinger, Jean-Jacques. Chopin: Pianist and Teacher as Seen by His Pupils. Cambridge [Cambridgeshire: Cambridge UP, 1986. Print.
Ewen, David. Ewen 's Musical Masterworks: The Encyclopedia of Musical Masterpieces. New York: Bonanza, 1954. Print.
Johnston, Blair. "AllMusic." AllMusic. AllMusic. Web. 28 May 2012. <http://www.allmusic.com/work/nocturne-for-piano-no-2-in-e-flat-major-op-9-2-ct-109-c260478/description>.
Perry, Edward Baxter. Descriptive Analyses of Piano Works, for the Use of Teachers, Players, and Music Clubs. Philadelphia: T.er; [etc., Etc., 1902. Print.
Zamoyski, Adam. Chopin: A Biography. London: Collins, 1979. Print.

Cited: Dubal, David. The Essential Canon of Classical Music. New York: North Point, 2001. Print. Eigeldinger, Jean-Jacques. Chopin: Pianist and Teacher as Seen by His Pupils. Cambridge [Cambridgeshire: Cambridge UP, 1986. Print. Ewen, David. Ewen 's Musical Masterworks: The Encyclopedia of Musical Masterpieces. New York: Bonanza, 1954. Print. Johnston, Blair. "AllMusic." AllMusic. AllMusic. Web. 28 May 2012. &lt;http://www.allmusic.com/work/nocturne-for-piano-no-2-in-e-flat-major-op-9-2-ct-109-c260478/description&gt;. Perry, Edward Baxter. Descriptive Analyses of Piano Works, for the Use of Teachers, Players, and Music Clubs. Philadelphia: T.er; [etc., Etc., 1902. Print. Zamoyski, Adam. Chopin: A Biography. London: Collins, 1979. Print.