The E flat nocturne is graceful, shallow of content, but if it is played with purity of touch and freedom from sentimentality it is not nearly so banal as it usually seems. It is Field-like, therefore play it as did Rubinstein, in a Field-like fashion.
Hadow calls attention to the "remote and recondite modulations" in the twelfth bar, the chromatic double notes. For him they only are one real modulation, "the rest of the passage is an iridescent play of color, an effect of superficies, not an effect of substance." It was the E flat nocturne that unloosed Rellstab's critical wrath in the "Iris." Of it he wrote: "Where Field smiles, Chopin makes a grinning grimace; where Field sighs, Chopin groans; where Field shrugs his shoulders, Chopin twists his whole body; where Field puts some seasoning into the food, Chopin empties a handful of cayenne pepper. In short, if one holds Field's charming romances before a distorting, concave mirror, so that every delicate impression becomes a coarse one, one gets Chopin's work. We implore Mr. Chopin to return to nature."
Rellstab might have added that while Field was often commonplace, Chopin never was. Rather is to be preferred the sound judgment of J. W. Davison, the English critic and husband of the pianist, Arabella Goddard. Of the early works he wrote:
Commonplace is instinctively avoided in all the works of Chopin—a stale cadence or a trite progression—a hum-drum subject or a worn-out passage—a vulgar twist of the melody or a hackneyed sequence—a meagre harmony or an unskilful counterpoint—may in vain be looked for throughout the entire range of his compositions, the prevailing characteristics of which are a feeling as uncommon as beautiful; a treatment as original as felicitous; a melody and a harmony as new, fresh, vigorous and striking as they are utterly unexpected and out of the original track. In taking up one of the works of Chopin you are entering, as it were, a fairyland untrodden by human footsteps—a path hitherto unfrequented but by the great composer himself.
Gracious, even coquettish, is the first part of the B major Nocturne of this opus. Well knit, the passionate intermezzo has the true dramatic Chopin ring. It should be taken alla breve. The ending is quite effective.
I do not care much for the F major Nocturne, op. 15, No. I. The opus is dedicated to Ferdinand Hiller. Ehlert speaks of "the ornament in triplets with which he brushes the theme as with the gentle wings of a butterfly," and then discusses the artistic value of the ornament which may be so profitably studied in the Chopin music. "From its nature, the ornament can only beautify the beautiful." Music like Chopin's, "with its predominating elegance, could not forego ornament. But he surely did not purchase it of a jeweller; he designed it himself, with a delicate hand. He was the first to surround a note with diamond facets and to weave the rushing floods of his emotions with the silver beams of the moonlight. In his nocturnes there is a glimmering as of distant stars. From these dreamy, heavenly gems he has borrowed many a line. The Chopin nocturne is a dramatized ornament. And why may not Art speak for once in such symbols? In the much admired F sharp major Nocturne the principal theme makes its appearance so richly decorated that one cannot avoid imagining that his fancy confined itself to the Arabesque form for the expression of its poetical sentiments. Even the middle part borders upon what I should call the tragic style of ornament. The ground thought is hidden behind a dense veil, but a veil, too, can be an ornament."
In another place Ehlert thinks that the F sharp major Nocturne seems inseparable from champagne and truffles. It is certainly more elegant and dramatic than the one in F major, which precedes it. That, with the exception of the middle part in F minor, is weak, although rather pretty and confiding. The F sharp Nocturne is popular. The "doppio movemento" is extremely striking and the entire piece is saturated with young life, love and feelings of good will to men. Read Kleczynski. The third nocturne of the three is in G minor, and contains some fine, picturesque writing. Kullak does not find in it aught of the fantastic. The languid, earth-weary voice of the opening and the churchly refrain of the chorale, is not this fantastic contrast! This nocturne contains in solution all that Chopin developed later in a nocturne of the same key. But I think the first stronger—its lines are simpler, more primitive, its coloring less complicated, yet quite as rich and gloomy. Of it Chopin said: "After Hamlet," but changed his mind. "Let them guess for themselves," was his sensible conclusion. Kullak's programme has a conventional ring. It is the lament for the beloved one, the lost Lenore, with the consolation of religion thrown in. The "bell-tones" of the plain chant bring to my mind little that consoles, although the piece ends in the major mode. It is like Poe's "Ulalume." A complete and tiny tone poem, Rubinstein made much of it. In the fourth bar and for three bars there is a held note F, and I heard the Russian virtuoso, by some miraculous means, keep this tone prolonged. The tempo is abnormally slow, and the tone is not in a position where the sustaining pedal can sensibly help it. Yet under Rubinstein's fingers it swelled and diminished, and went singing into D, as if the instrument were an organ. I suspected the inaudible changing of fingers on the note or a sustaining pedal. It was wonderfully done.
The next nocturne, op. 27, No. I, brings us before a masterpiece. With the possible exception of the C minor Nocturne, this one in the sombre key of C sharp minor is the great essay in the form. Kleczynski finds it "a description of a calm night at Venice, where, after a scene of murder, the sea closes over a corpse and continues to serve as a mirror to the moonlight." This is melodramatic. Willeby analyzes it at length with the scholarly fervor of an English organist. He finds the accompaniment to be "mostly on a double pedal," and remarks that "higher art than this one could not have if simplicity of means be a factor of high art." The wide-meshed figure of the left hand supports a morbid, persistent melody that grates on the nerves. From the piu mosso the agitation increases, and here let me call to your notice the Beethoven-ish quality of these bars, which continue until the change of signature. There is a surprising climax followed by sunshine and favor in the D flat part, then after mounting dissonances a bold succession of octaves returns to the feverish plaint of the opening. Kullak speaks of a resemblance to Meyerbeer's song, Le Moine. The composition reaches exalted states. Its psychological tension is so great at times as to border on a pathological condition. There is unhealthy power in this nocturne, which is seldom interpreted with sinister subtlety. Henry T. Finck rightfully thinks it "embodies a greater variety of emotion and more genuine dramatic spirit on four pages than many operas on four hundred."
The companion picture in D flat, op. 27, No. 2, has, as Karasowski writes, "a profusion of delicate fioriture." It really contains but one subject, and is a song of the sweet summer of two souls, for there is obvious meaning in the duality of voices. Often heard in the concert room, this nocturne gives us a surfeit of sixths and thirds of elaborate ornamentation and monotone of mood. Yet it is a lovely, imploring melody, and harmonically most interesting. A curious marking, and usually overlooked by pianists, is the crescendo and con forza of the cadenza. This is obviously erroneous. The theme, which occurs three times, should first be piano, then pianissimo, and lastly forte. This opus is dedicated to the Comtesse d'Appony.
The best part of the next nocturne,—B major, op. 32, No. I, dedicated to Madame de Billing—is the coda. It is in the minor and is like the drum-beat of tragedy. The entire ending, a stormy recitative, is in stern contrast to the dreamy beginning. Kullak in the first bar of the last line uses a G; Fontana, F sharp, and Klindworth the same as Kullak. The nocturne that follows in A flat is a reversion to the Field type, the opening recalling that master's B flat Nocturne. The F minor section of Chopin's broadens out to dramatic reaches, but as an entirety this opus is a little tiresome. Nor do I admire inordinately the Nocturne in G minor, op. 37, No. 1. It has a complaining tone, and the choral is not noteworthy. This particular part, so Chopin's pupil Gutmann declared, is taken too slowly, the composer having forgotten to mark the increased tempo. But the Nocturne in G, op. 37, No. 2, is charming. Painted with Chopin's most ethereal brush, without the cloying splendors of the one in D flat, the double sixths, fourths and thirds are magically euphonious. The second subject, I agree with Karasowski, is the most beautiful melody Chopin ever wrote. It is in true barcarolle vein; and most subtle are the shifting harmonic hues. Pianists usually take the first part too fast, the second too slowly, transforming this poetic composition into an etude. As Schumann wrote of this opus: