why i think this is chopin's darkest nocturne
ฝัง
- เผยแพร่เมื่อ 27 ต.ค. 2023
- Chopin's nocturne Op.27 No.1. One of the eeriest beginnings to a piece of music with a hollowed accompaniment in the LH and a slow stepwise melody that plays on a chromatic movement E-E#-F#.
i remember it being one of my least liked nocturnes back then because of its strangely ominous atmosphere, especially paired next to its warm and lovely Db nocturne twin. needless to say it eventually grew on me and i still find this opening incredibly interesting.
recording (João Pires): • Chopin Nocturne, op 27...
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Chopin’s Op. 27 is simply wonderful 💌✨
hard to beat!
@Chopiet oh my god hello there !!
@@ahauntinglybeautifulmelody Hello lol! 😄💫
@@Chopiet also if you had to to choose your fav opus, which one would it be ? I know it’s almost impossible to make such a choice !
@@ahauntinglybeautifulmelody That isn’t an easy question lol! But I would probably say Chopin’s Op. 55 🪻
Both nocturnes from that opus are so beautiful and touching 😮💨🙌🏼
What’s your favourite opus? 👀
Superior to the other c# minor nocturne imo. This nocturne almost has the dramatic intensity of a ballade, ultra underrated.
Absolutely agree, especially varied in the B section
dude its a Chopin nocturne its not underrated
In a way it is, just like any other classical composer Chopin has a few pieces many people know and they stick onto those, even though there are many many more other beautiful works.@@JackGallahan-zh7wz
I love the coda to this nocturne, so sweet after so much darkness. And the darkness being so beautiful at the same time. Lovely piece.
I tend to see this nocturne as an evocation of the desert - vast sandy expanses, then jagged mountains, sandy expanses again, and an oasis in the closing lines.
the pianist nailed it as well, the melody at the start seems to come from the nowhere, out of the mist of open fifths in the bass
The counterpoint in the first theme is amazing. So different than all the other composers. Chopin's counterpoint transforms the theme into something sublime. Thank you once again. For a suggestion: the wonderful lyrical second theme of Scriabin's fantasy in B minor?
I'm convinced that's precisely what sets Chopin and other masters apart: the effectiveness of their counterpoint. It's one thing to write beautiful melody or a series of scintillating chords; but to produce them all through functioning counterpoint is the pinnacle of the art.
I would also propose that Wagner was a clear successor to Chopin in this way.
And some imbeciles on internet are saying that Chopin could not compose any counterpoint...
I had some problems learning this piece, mainly because I didn't "understand" it, now I know why.
This has from Day One been my favourite of all Chopin Nocturnes.
It's love at first audition.
This one and op. 48 c minor have always had my heart
I don't immediately see any thematic similarities, but this excerpt definitely has the same somber affect as that middle theme of his 4th scherzo, complete with the delicate harmonic nuances in the melodic line....absolutely sublime!
Same key of c# minor
In my humble opinion, Chopin's Nocturnes are Chopin at his most Lyrical. Thanks.
The middle section of the so called 'raindrop' prelude has haunted me since i was a child. Thank you for giving the chord progression - mad respect :-)
0:38 - interesting that you think the bar of silence in the melody could be omitted, I would argue otherwise. If we look at the recapitulation, specifically the closing of the main theme before the coda in C# major with the falling thirds, Chopin (at least in my edition of his Nocturnes) resolves the melody and places accents on each note leading up to the resolution, even going as far as to add a sforzando marking on the C# (the very same C# that would have featured in the bar of silence you reckon could be omitted, had Chopin decided to resolve the melody there and then). I think that bar of silence that, as you rightly point out, adds tension also plays into the overarching structure of the piece by offsetting the eventual resolution of this desolate melody right up to the last bars of the piece; it's quite puzzling that Chopin just drops the melody after the B#, but it all makes sense when he delivers the resolution at the end of the piece (he makes it even more obvious and cathartic by simultaneously modulating to the parallel major).
You're right! What I'd really meant is that it would've been omitted by a lesser composer. Though in terms of structure I'd say that the recapitulation imitates more closely the ending of the A section just before B, with the use of the countermelody. I wouldn't quite link it to the first time it happens.
@skylarlim-composer yes, the ending of the A section is much the same as in the recap. I think that both instances of the melody being dropped in the A section help to contextualise the eventual resolution of the melody in the recap.
Wonderful video and like always a beautifully done analysis! This nocturne is indeed something special, it is definitely in the top three Chopin nocturnes to play for me
Never heard this one, very nice. I think Op. 48 No. 1 and also Op. 72 No. 1(more melancholic) have a dark character.
That bar of silence is so lovely! I see it like a 'major alteration' (?) of a tritone substitution of the V7, the Dmaj resolving by step to the C#m.
I always love being able to voice major seventh chords in 3rd inversion, feels so at home yet so heart-rendering.
Very hilarious that the moment marked "imitation" is not played as such by the performer.
I think the pianist made a boo-boo.
This has always been my facourite nocuturne, and criminally underperformed (in comparison to the other nocturnes). So dark, and in moments intense, yet incredibly beautiful
I have imagined a scene that goes well with the contrasts between parts A and B, but it's too dark to share. But I think Chopin might have liked it.
Wonderful analysis thank you very much.
This was my number one played piece on Spotify for 2020.. ha pretty easy to tell how I was feeling at the time? I would disagree however and say Op. 48 no. 1 is more menacing, powerful and darker.. that ending leaves me like I’ve fallen into the abyss. Still I find this melody equally intoxicating and beautiful in its more introverted expression.. the subtle counter melodies are simply divine and the hopeful coda is the perfect ahhhh moment 😌
Chopin's use of the Neapolitan second is beautiful and particular
Darkest, but also most beautiful.
Ahhh my favorite piece of Chopin ever. Thank you for this explanation for those of us who don't studied music.
Schön gespielt Kollege!🎹🎹🎹👍
The recording is so good
one of my favourites
Clearly he was thinking of jumping into the ocean to drown, then decided not to. He suffered a lot of ill health causing terrible suffering.
The "lesser-known" C#-minor nocturne! It almost feels like a mini-scherzo with such a drastic change in emotion in the development part.
Beautiful nocturne, indeed
Thank you for not having a 20s title screen and for not talking over this!
The opening figuration actually implies an E-sharp due to the harmonic series outlined by the bass C-sharp. The E-natural that starts the melody could thus be considered a dissonance to the two bars of established accompaniment. When the E-natural slides up to E-sharp as expected, the harmony changes to an unstable dominant chord. Chopin is cleverly avoiding all kinds of resolution and stability in this piece.
that makes sense, with the ending part in C # major features the opening figuration prominently (now with a major third in the right hand) before doing a big IV I cadence.
@@ko9602 It makes sense because I’m correct
lol@@TheModicaLiszt
@@TheModicaLiszt or the e# is a passing tone. I think if you analyze Chopin through the lenses of traditional (tonic-dominant) harmonic relationships you end up missing some of his genius at incorporating the musical world around him - the modal tertiary (Chopin’s use of tonal centers thirds apart is well established) world of Polish folk music. The analysis here is excellent but only one way of looking, let alone listening, at this opening section. Does your ear hear what the chord symbols indicate? I hope not.
@@vtnatureboy Schubert used tonal centres a third apart, Liszt’s Op 1 features a modulation a third apart, etc. I’m not convinced that it is an innovation on Chopin’s part. And when I say the opening bare fifths “imply” a consonant E-sharp, I mean that you are hearing it as a fourth partial over the fundamental C-sharp. When the E natural comes in, it is unexpected and sticks out as a dissonance to the major chord built by the overtones in the first two bars.
Thomas Mann praises this nocturne in Dr. Faustus. Makes reference to Chopin having anticipated Wagner in his groundbreaking techniques. Not my favorite Nocturne, but it's very unique and darkly beautiful. Liked video.
I love every Chopin piece...that I an play :) So I love this one!
i just finished learning this piece, and despite know all of the notes, phrases, dynamics, and everything else, i still feel so unfathomably far from truly mastering this piece. so many moments, so many turning points. no matter how hard i try, i don’t think my playing could match up to this absolutely ethereal piece. this piece is like one delicate line of web, and any selfish decisions made could absolutely destroy that web. the nature of this piece is truly beautiful and will go down as one of, if not, my favorite piece.
All nocturnes are like arias for piano. In this case this "strange" bass is constructed like and accompaniment bye Bellini. The melodic line is like Beellini too... And the napolitan cadences are an very italian too. Another aspect this nocturne in my opinione is like an aria is for this structure A-B-A, the cadenza for left hand and coda in major mode. Darkness, desesperation and finally ilgth.
This is the first nocturne I played, when i was 8. Love it.
I really love to play this nocturne
1:50 why did the pianist paly a D while the score shows a B sharp there? a different edition?
no way - only B sharp makes sense.
This and Op. 48 No 2 in C Minor are the two darkest. They are purely chilling. They are the sound of an empty black expanse overshadowed by the bleak qhite eye of the moon.
I'm a bit confused. Op. 48 no.2 is in F minor. Did you mean Op.48 no.1 or just misremember the key of Op. 2?
@@randomchannel-px6ho I might have meant Op. 48 no.1. I have a bit more trouble remembering the Opus number on that one, but I know it is in C-Minor. I am sorry if I left you rather confused.
@@randomchannel-px6hof sharp minor you mean?
This is my second favorite nocturne after its sibling Op.27 N.2, the two go together like a lament and consolation. The first climax of N.1 is hard to pull off satisfyingly, most pianists ignore the "ritenuto" marking at bar 51 and rush the whole thing, trying to get as fast as possible to the glorious D major "Polonaise" section after it. I always had a hard time finding a rendition that really pleased me, and I still have yet to find one. Guess I'm just going to have to learn it to have a personal recording LOL
i like the melody, which you like least, is one of my favourite tune for soothing.
I’m a little confused, but should the chord in bar 5 be notated as bII64 instead of bII6 since it is a D major triad in 2nd inversion with a C# pedal in the bass? Could anyone explain this to me? Thanks!
You're right! Actually on hindsight it isn't that necessary to indicate the inversion over a pedal bass note since the pedal obscures the inversion in the first place
Someone once said that the opening is like a corpse floating on water. Sublime.
ahhh my favorite personally !
The urge to practice this but also knowing that this is way beyond my skill level 😥😥
thank for all the music theory with these...i am a beginner, and its really helpful thanks...
With pleasure!
Chopins grandest melody probably is in the climaxes of the op 46 Allegro De Concert
Truly, there is only one Chopin! A pity he died so young.
Op 62 no 1 has to be the most beautiful nocturne imo
my favorite nocturne, maybe my favorite Chopin piece. The main theme is so minimalistic, dark and clever. What is Ger6 please?
it's the german sixth, a type of augmented 6th chord
@@skylarlimex I always analysed it as Napolitan sixth, I learned something tonight, thank you!
@@monsieurbrochant7528 my pleasure!
Et après c'est une explosion de passion !
His Op 15 no 3 is also Grave.
Lovely analysis. What app do you use?
for editing? fcp
@@skylarlimex no, for the pieces
Would love the detail you write, so I can understand more when I put all musicalities in it. Thank you
Nice.
aww I miss the second section
Do you have any books how to learn how to compose? Really like how you can look at music.
Yes it’s beautiful. I always play this one and blend it into beginning of the next nocturne, which is played much more frequently . This one ends with a C# Major chord, and the next one is in D-flat major, so they go together perfectly.
But please explain to me what’s going on at 0:49 here when he deviates from the score in the bass.It’s written as c#, but he plays g#. It’s much better with the c#, imho, creating an I7 in the bass, and thus a lot of tension with the D# in the melody. And then he plays another chords that aren’t in the score in the next measure, like his left hand has gotten ahead of his right. A deceptive cadence indeed. And then at the end, he plays the wrong note in the melody. You shouldn’t use a performance that doesn’t follow the score.😮
This Chopin guy is pretty good
This is my second favorite nocturne. The first favorite? Op. 27 No. 2.
Haha
Haha, it was my first Chopin's piece, my teacher too said that it was actually dark when I played it on concert in our music shool)
Here is my latest Chopin loop: th-cam.com/video/dDG5yFDnDXg/w-d-xo.html
Is there a different way to notate modal chords/secondary dominants than I'm used to? You notate the C# major chord as V7/iv, but usually that means V7 OVER the fourth degree. Shouldn't the dominant of F# minor be notated as V7 of iv?
I notate them as such, i know some might interpret it differently but it's the method I'm used to
You’re refering to “jazz” or modern notation. The notation used in the video is normal classical notation. bII6 doesn’t mean an added sixth, but a first inversion chord.
do u have a video on the second part of this nocturne?
Lovely video but they seem to be playing a slightly different version of the sheet music, there are quite a few small differences
I would say Nocturne Op 48 no 1 is the darkest!
Love playing this nocturne. Pretty difficult
This goes in the direction of a Brahms ballade
Isn’t the harmony at 0:42 (and the following bar) i instead of I?
World of Warcraft. The Burning Crusade. Hellfire Peninsula. What an inspiration.....
One of their best music, the sample is clean.
It's like a Venetian Gondola song... like Mendlessohn.
You are a criminal! How could you cut this? Nevertheless, thank you for the analysis!
so why do you think that?
And then you stop at the beginning of the best part?
at 1:48 to 1:5 min there is some wrong note right ? or am i really deaf
I thought the same thing
d instead of b sharp
Why only the first section?
the pianist remembered the piece incorrectly lol still very good
C#7BbaugDmaj. Did you get that?
To me, the opening is not really eerie... it's more of a calm, but sad feeling, like you know something sad will happen and you can't do anything about it and you feel powerless. Maybe it's just me tho 🤷♂
what is a hollowed accompaniment? thanks
I mean open in sonority, with the use of fifths
Ok then
Why does he use 2 sextuplets per bar in the bass instead of 4 triplets? 🤔
...
What op is it?
Op 27no 1
Anybody here from hefire peninsula?
If i don't listen to Rubinstein i just dont listen
That's incredibly close-minded of you
@@skylarlimex you just dont know yet.At least for this nocturne
Nah it's not the darkest, but the most dissonant
Will somebody tell who is the pianist that I disliked?
Opus 48 number 1 (C minor) is moodier.
C# minor is such an amazing, colourfull, but also dark key : just look at the Fantaisie-Impromptu from Chopin or The Prelude op 3 n 2 from Rachmaninoff : same key, same terrifying climate
Could be transposed to any key and sound exactly the same. 🤦♂️🤦♂️🤦♂️
Mmh I don't think so
Why would there be so many keys then ? And by that, so many different colors ?
F major is mainly used by composers because it somehow refers to the Christ (also with some chords and stuff)
E major is always seen as a "happy" key, even though major doesn't necessarily mean happy and vice versa for minor keys.
A flat major endly, is associated to love song (Liszt composed his third "Liebestraum" in that special, warm key)
If a composer chose a certain key, well there has to be a reason.
Don't speak too fast :)
This isn’t dark
it's played far too fast. what's more, the original chopin scores emphasize that you shouldn't pause the pedal during the sixth note in the bass, but before it (very important detail).
How can you analyze this nocturne if you play it so blatantly differently than chopin imagined?
Because they didn't play it. Direct your attention to detail toward the description.