• Nohant Window 2 [96]
    Fryderyk Chopin's initials embellish the gate at The Hermitage -- formerly the Museum of the Chopin Festival -- where, in the summer of 1826, the Chopin family came to the spa at Duszniki "to take the waters."
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    Nohant Manor -- Garden Entry from "Chopin's Europe" courtesy MUZA, SA and Hanna Komarnicki
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    OP 9 No 2 Cover
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    Chopin Nocturnes Op. 48 Title page
    Photo from "Chopin's Europe" courtesy Hanna Komarnicki
    Chopin's Warsaw No. 2
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  • 16 Nohant Typical Berry Country Road - Nocturne in C Minor, 1847 [KK 1233-5] AG
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    Chopin Project Educational Outreach
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Nohant Manor -- Garden Entry from "Chopin's Europe" courtesy MUZA SA, Image copyright 2010 Hanna and Juliusz Komarnicki

As we know, Chopin, like Mozart and Beethoven before him, and Liszt among his contemporaries, was one of the greatest improvisers before the public. How his improvisations sounded, either public or private, in the darkness of his music salon, we will never know. It always seems to me that the closest we will ever come to hearing his musings at the piano is this single five minute Prelude, composed in 1841 in Nohant, and assigned the separate opus number 45. Sending his copyist, Julian Fontana, his manuscript (neither the autograph nor Fontana’s copy are extant), Chopin attached a note that this time (unlike in the case of the Tarantella, Op. 43) expressed a rarely shown satisfaction: “it is well modulated, isn’t it?” In this constant stream of modulations, with no specific form, the main theme and the accompaniment are intertwined. Toward the end comes a cadenza, with double notes in both hands, that a lead to an ecstatic culmination. The opening theme then reappears, and the piece dies away. Its character could be mistaken for that of a nocturne. The work was dedicated to one of Chopin’s female students, Countess Elizabeth Czernyszew. It is puzzling that this marvelous work is performed relatively rarely, although it almost invariably appears in complete recordings of the preludes. It might be worth noting that this work was a obligatory composition during the Fifth International Chopin Competition in Warsaw in 1955.

  • Terry Stuart

    I am new to your website and the first piece of music by Chopin that was heard was his Nocturne in E Flat. Thank you for including this. A long time ago I heard this piece on a record and I enjoyed it a lot and now I can play the whole piece by ear. This music has a lot of feeling in it, especially at the end, and it does something to me when I listen to the Nocturne. Thank you again for including it with your music.

  • Ian Digby

    Following your article I listened to this piece and remembered how beautiful it had sounded to me years ago. It is one might say quintessential Chopin – perfectly crafted, innovative, and possessing his unique capacity to speak to something quite deep inside us, a sort of spiritual emotion. A gem indeed.