Chopin Nocturne Op 9 No 2 in E flat major by Anastasia Huppmann [Anastasia Huppmann]


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Chopin Nocturne Op 9 No 2 in E flat major by Anastasia Huppmann

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🎹 Chopin Nocturne Op. 9 No. 2 in e-flat major
*the ornaments are original by Chopin. Which version do you prefer? This ornamented one or “the pure” one you can find played by me here:


Chopin’s Nocturne op. 9 no. 2 in E-flat major was composed between 1830-1832, when Chopin was around 20 years old. He dedicated 3 nocturnes op. 9 to Maria Pleyel, the wife of an acquaintance of Chopin’s. Maria was one of Chopin’s piano students, and he dedicated many of his works to his students.

🎼 Scores:
There are no less than fifteen known variants for this Nocturne op. 9/2 alone. Why should these variants occur in such quantity in the Nocturne op. 9 no. 2 rather than elsewhere? Nobody knows it for sure, but maybe it’s popularity began to irritate Chopin and by including ornaments may have been acting to prevent the piece from labelling him a salon composer, since it was in the salons that his Nocturne too often ran the risk of being, in his own word, sentimentalisé.
For this recording I used the original by Chopin ornamented version of this Nocturne.

🤩 Popularity:
This Nocturne op. 9 no. 2 in E-flat major is very popular, maybe the most popular of all his nocturnes and has also made its way into many movies and TV shows, such as The Five Year Engagement, Bones, Dexter, Mad Men, Hannibal (the series) and the Simpsons.😁

💝 Form:
This Chopin’s Nocturne is full of symmetrical elegance: The entire piece is 34 bars long and built on phrases with the length of 4 bars. The A section is 4 measures and introduce the theme which leads to the first variation (4 bars long), followed by a ritornello (4 bars long too) and a transition leading to the second variation (guess how long... right! 4 bars), then a ritornello (how many bars? You know the answer😉) , the third variation and finally, by a ritornello and cadenza. So, everything is 4 measures until you get to the coda.

📖 Story:
Here is a little story:
“I sat down at the piano.
Chopin: What about the score?
-I didn’t bring it, I play this Nocturne by heart.
Chopin: I don’t want any of this: are you reciting the lesson? I want to teach either precisely or not at all. I’ve ready told you you don’t know how to work. I gave you the Clementi and by the next lesson it had mysteriously vanished, just like the Moscheles Etudes. You played my Impromptu twice, and that was it already despatched; now it’s a Nocturne, and you forget to bring the score!”
*from Zeleska/Hordyński

👨‍🏫 Chopin’s Teaching:

Chopin’s Nocturne op. 9 no. 2, apparently so innocent and innocuous, poses particular problems of performance - as the composer himself frequently repeated. Chopin’s teaching of it is worth reproducing here.

‘Chopin wanted the bass line to be practiced first by itself, divided between the two hands, and each of the chords should sound like a chorus of guitars. Once the bass part is mastered - with two hands - with a full but piano sonority and in strict time, then the left hand can be trusted with the accompaniment played that way and the tenor invited to sing his part in the upper voice.’
The style should be modelled upon the great Italian school of singing, and the pathos should increase throughout the variations.

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