Posted by ricardo marcenaro | Posted in Music: Fujiko Hemming - Chopin Nocturne No. 19 Op. 72 No. 1 - Nocturne Op. 9-2 - Data - 2 Vids | Posted on 20:08
Ingrid Fujiko Hemming plays Chopin Nocturne No. 19 Op. 72 No. 1
A secondary theme, in B major.
An informal analysis of the piece is as follows:
Bar 1: Introduction, First Subject.
Bar 2-9: Theme A, in E minor.
Bar 10-17: Variation on theme A, beginning with octaves in the right hand.
Bar 18-22: Interlude
Bar 23-30: Theme B, in B major, consisting of a four bar phrase, repeated with variation, Second Subject.
Bar 31-38: Heavily ornamented variation on A, in E minor, First Subject again.
Bar 39-46: Variation on theme A, beginning with octaves in the right hand.
Bar 47-54: Theme B, modulated to E major, Second Subject again.
Bar 55-57: Coda in E major.
Second entrance of second theme, in E major.
According to Casimir Wierzyknski, in his book, The Life and Death of Chopin, "[U]p until then this form [the nocturne] had been the exclusive domain of John Field, an Irish-born composer. But his Nocturne in E minor did not satisfy him [Chopin] and was published only posthumously."
This piece was played by the actor Jeri Lynn Zimmermann Ryan while portraying Seven of Nine in the beginning of the Star Trek Voyager episode "Human Error". The piece was also performed by Doc Holiday in the 1993 movie Tombstone (film) and was used as the main theme in The Secret Garden (1987 film).
Fujiko Hemming Nocturne Op. 9 - 2
This popular nocturne is in rounded binary form (A, A, B, A, B, A) with coda, C. The A and B sections become increasingly ornamented with each recurrence. The penultimate bar utilizes considerable rhythmic freedom, indicated by the instruction, senza tempo (without tempo). Nocturne in E-flat major opens with a legato melody, mostly played piano, containing graceful upward leaps which becomes increasingly wide as the line unfolds. This melody is heard again three times during the piece. With each repetition, it is varied by ever more elaborate decorative tones and trills. The nocturne also includes a subordinate melody, which is played with rubato.
A sonorous foundation for the melodic line is provided by the widely spaced notes in the accompaniment, connected by the damper pedal. The waltz like accompaniment gently emphasizes the 12/8 meter, 12 beats to the measure subdivided into four groups of 3 beats each.
The nocturne is reflective in mood until it suddenly becomes passionate near the end. The new concluding melody begins softly but then ascends to a high register and is played forcefully in octaves, eventually reaching the loudest part of the piece, marked fortissimo. After a trill-like passage, the excitement subsides; the nocturne ends calmly.
Music: Fujiko Hemming - Chopin Nocturne No. 19 Op. 72 No. 1 - Nocturne Op. 9-2 - Data - 2 Vids
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