Written By: Miles Watts, Staff Writer
ANALYSIS: A breakdown of Chopin’s Nocturne Op. 27 – No. 1 in C Sharp Minor. Larghetto.
In this modern day, the average person does not take time to listen to classical music. One today might prefer what is on the radio or even songs and artists a few decades in the past, but they may never consider pieces from Mozart, Beethoven, or Chopin. They may know some famous bagatelles like “Für Elise” or pieces like Rondo Alla Turca, but never any other songs from those composers. Although more famous classical works may be covered, this article is a dedication to the lesser known-but equally as interesting-songs from composers of the past.
Nocturne Op. 27 – No. 1 by Frédéric Chopin is written in C sharp minor, which it shares with many other famous works like “Fantasie-Impromptu in C sharp minor, Op. posth. 66, WN 46” by Frédéric Chopin and Piano Sonata No. 14 by Ludwig Van Beethoven. All of these piano pieces share a similar tone of moodiness and mystery. They are all dark but they have the ability to transition to a major tone and have moments of light. It is a key that emanates a mysterious atmosphere but also features flickers of hope in there. These sparks are few and far between, not too dissimilar to a night sky where the stars are forever separated by a sea of blackness. Although Chopin has written many nocturnes, this piece is just as noteworthy as all of the others.
The nocturne introduces the listener to this ominous and mysterious arpeggio in the left hand. When the right hand comes in around 0:10, it is not on the start of the measure but the beat after. This further adds to the anxiety that is lurking in the beginning as starting on the downbeat has a grounded and unified feel to it. The melody is a light shining over the darkness; however, it is an uncertain light. It has some tension to it as it ascends chromatically a few notes then stops. One can sense as if there is something large and dramatic coming, like the calm before the storm. At about 1:27, the right hand repeats the first measure when it first comes in and then adds an interval at 1:33 which signals change and progression towards a climax. After that phrase, it repeats again but with added intervals and differing melodies this time. At about 2:08, the right hand drops and leaves the left hand to play an ascending arpeggio. This serves as a transition to the next section of this nocturne.
At around 2:18, what has been lurking the whole time finally begins to reveal itself. The rumbling left hand with the chords in the right hand begins where the tension starts to build and unravel itself. Like a snowball falling down a mountain, it increases quickly and intensely. As it grows, the right hand plays ascending chords faster and faster until at 2:40 the left hand finally changes to play an ascending line, and at approximately 2:40, it appears the summit this section is building to has been reached. A beautiful, yet turbulent major melody emerges from the earthquake of the left hand and joins it, complimenting it quite well. It is quite a moving and dramatic phrase as one can imagine it symbolizing the chaos and beauty of life. Although there is such complexity and hardship in what a person experiences, there is also a silver lining and light to it. Although this is a powerful phrase, it is a brief one as it resolves at approximately 2:50 and the apprehension from the section prior reemerges. Instead of it reaching the summit the same way like it did previously, the rhythm is different and it slows down. It slows until the climax has been reached at around 3:09.
This section develops into this waltz-like major feel that is a very free feeling. It stands juxtaposed with the prior phrases as they were very chaotic, but this section is very serene and joyous. This phrase does not last long however as at about 3:25 the tone changes to one with anxiety in mind as it builds and slows to a melody left unresolved at 3:32. The listener is not left in suspension for too long however because at 3:35, the left hand plays octaves in a very strong and brooding manner. This contrasts heavily with the waltz section and is the only time it happens in this nocturne. It serves as a transition to the same arpeggios in the beginning at 3:56. The right hand plays the melody from the beginning as well as a call back.
At 4:34, the right hand starts a descending line which signals that this is not a true repeat of the beginning (nocturnes have a lot of repeated sections in them). At 4:43, the mood changes to a more major feel compared to the melancholy melody previously. The left hand also morphs into happier sounding arpeggios which, combined with the right hand, serve as the road to a positive ending to this very brooding and dramatic nocturne. At about 5:04, it begins to gradually slow as the right hand plays chords while the left hand leads the ritardando. At 5:15, an ascending line is played and hangs there at 5:21. A note is then softly played after some time and then the chord that resolves the whole nocturne is played. It serves as a positive and beautiful ending to this song. The light at the end of the tunnel after such turbulence was experienced.
This nocturne is quite different from most of the others Chopin composed. Most are whimsical and happy with very beautiful melodies and chords. While some may also have some sad elements, this one is more ominous and bitter. The negativity is quite apparent and dramaticized compared to the other nocturnes. But it still does have happy motifs. Although life can be quite miserable and chaotic, there is some goodness in even the darkest of things. And even if hard times seem to never end, there is always light to look forward to when the pain and stress passes.
This is the album that was listened to to analyze this piece.