{"id":45348,"date":"1970-01-01T00:00:00","date_gmt":"1969-12-31T23:00:00","guid":{"rendered":"https:\/\/vdegallo.com\/?post_type=product&p=45348"},"modified":"2025-05-12T13:44:29","modified_gmt":"2025-05-12T11:44:29","slug":"chopin-the-nocturnes-aldo-ciccolini","status":"publish","type":"product","link":"https:\/\/vdegallo.com\/en\/produit\/chopin-the-nocturnes-aldo-ciccolini\/","title":{"rendered":"Chopin: The Nocturnes – Aldo Ciccolini"},"content":{"rendered":"

Chopin: The Nocturnes – Aldo Ciccolini<\/strong><\/p>\n

CD1:<\/strong>
\nFr\u00e9d\u00e9ric CHOPIN:<\/strong> Nocturne No. 1 in B-Flat Major, Op. 9, No. 1: Larghetto – Nocturne No. 2 in E-Flat Major, Op. 9, No. 2: Andante – Nocturne No. 3 in B Major, Op. 9, No. 3: Allegretto – Nocturne No. 4 in F Major, Op. 15, No. 1: Andante cantabile – Nocturne No. 5 in F-Sharp Major, Op. 15, No. 2: Larghetto – Nocturne No. 6 in G Minor, Op. 15, No. 3: Lento – Nocturne No. 7 in C-Sharp Minor, Op. 27, No. 1: Larghetto – Nocturne No. 8 in D-Flat Major, Op. 27, No. 2: Lento sostenuto – Nocturne No. 9 in B Major, Op. 32, No. 1: Andante sostenuto – Nocturne No. 10 in A-Flat Major, Op. 32, No. 2: Lento.<\/p>\n

CD2:<\/strong>
\nFr\u00e9d\u00e9ric CHOPIN:<\/strong> Nocturne No. 11 in G Minor, Op. 37, No. 1: Andante sostenuto – Nocturne No. 12 in G major, Op. 37, No. 2: Andantino – Nocturne No. 13 in C Minor, Op. 48, No. 1: Lento – Nocturne No. 14 in F-Sharp Minor, Op. 48, No. 2: Andantino – Nocturne No. 15 in F Minor, Op. 55, No. 1: Andante – Nocturne No. 16 in E-Flat Major, Op. 55, No. 2: Lento sostenuto – Nocturne No. 17 in B Major, Op. 62, No. 1: Andante – Nocturne No. 18 in E Major, Op. 62, No. 2: Lento – Nocturne No. 19 in E Minor, Op. posth. 72, No. 1: Andante – Nocturne No. 20 in C-Sharp Minor, Op. posth.: Lento con gran espressione – Nocturne No. 21 in C Minor, Op. posth..<\/p>\n

Aldo Ciccolini,<\/strong> Piano Wikipedia<\/a><\/p>\n

\n

Imitating the art of singing…<\/strong><\/p>\n

Nocturne… Notturno… Nachtst\u00fcck… are perfect synonyms for \u201cserenade,\u201d \u201cdivertissement,\u201d or other concert pieces. At least, this was the meaning given to the word \u201cnocturne\u201d when Verdi was alive. Furthermore, well before Chopin, this \u201cnocturne\u201d was a form intended for wind instruments, in particular horns, and sometimes strings. What, then, was the strange destiny of this word, \u201ccaptured\u201d for the first time on the keyboard by an Irishman, John Field, a talented but underrated musician (Dublin, 1782 \u2013 Moscow, 1837), and which was definitely adopted for the piano by the genius of Fr\u00e9d\u00e9ric Chopin?<\/p>\n

For if we call to mind the form of the Nocturne, it is as indistinct as the musical spirit of the work. The content is like the container: indistinct, dreamy, melancholic, as if composers hesitated to give a more literary name to a form of musical expression that corresponded ideally to the mood of Romanticism, then at its height. Chopin\u2019s Nocturnes fill the night and let our thoughts whirl \u201cin the night air.\u201d The words, said and unsaid, the meaningful silences reflect the loneliness of the musician whose art merges with that of the performer. Chopin sings for himself with a \u201cvoice\u201d that is recognizable from the first note: he admits to being in love with bel canto<\/em>. His touch expresses this passion. The human voice, carried by the right hand, impedes the accompaniment. The performer, therefore, has to evaluate the differences in tempo in the bar, in the phrase, even in the syllables we think we can hear. The absolute autonomy of the two hands, which sometimes fight each other in the syncopation, thwarted by the infinitesimal control of the pedal, gives each interpretation its full value. The phrase remains suspended\u2014an elevation all the more dangerous for the performer, given that the tempo is measured.<\/p>\n

\u201cNocturne\u201d doesn\u2019t mean lack of precision or dilettantism either. Scriabin, Debussy, Faur\u00e9, Ravel, and Rachmaninov, among others, use the term, but their writing, like Chopin\u2019s, doesn\u2019t tolerate any approximation.<\/p>\n

Poor pianists… With Chopin, they have to create expectation\u2014the desire for the note and the chord that will harmonically resolve the phrasing of the line. Silence then takes on enormous importance.<\/p>\n

We will never know if these Nocturnes, masterpieces of the genre, are \u201ceasy\u201d or \u201cdifficult.\u201d Of course, the C minor in Opus<\/em> 48 No. 1 is frightening because of its impressive technique. But the debate is elsewhere. Chopin admits it himself: you can sing, or you can\u2019t!<\/em><\/p>\n

\u201cIndistinct form,\u201d we wrote above… In fact, Chopin\u2019s Nocturne is made up of three parts, the middle one contrasting with the other two. Chopin certainly doesn\u2019t try to innovate. What\u2019s more, the counterpoint is sometimes very severe. You have to look elsewhere\u2014in the ornamentation, which gives fullness to the sound. It is the foundation of a stylized Polish soul, although it would be illusory to try to decipher it in the twenty-one scores. The ornamentation and the declamation relieve the stiffness of the notes.<\/p>\n

The rubato, the touch on the keyboard, becomes the signature of the work, as if Chopin were expressing the lyrical piece he never gave us. From 1827 to 1846, all his work is punctuated by Nocturnes and Mazurkas, as if it were a discreet itinerary in a diary.<\/p>\n

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