• Nocturne (from the French nocturne - “night”) - spread from early XIX century, the name of plays (usually instrumental, less often vocal) of a lyrical, dreamy nature. The French word nocturne in this sense was first used by John Field in the 1810s, although the Italian term notturno existed in the 18th century and denoted music performed in the open air.

  The nocturne genre originated in the Middle Ages. Then a nocturne was the name given to the part of the religious Catholic service performed between midnight and dawn (like Orthodox matins). The nocturne emerged from the purely religious genres in the 18th century, turning into a chamber piece performed at night in the open air (Nachtmusik). The classical nocturne had nothing to do with the modern understanding of the genre (it was not a lyrical miniature) and was often written in the form of a sonata-symphonic cycle (for example, Mozart’s Little Night Serenade).

  The nocturne is usually based on a widely developed melodious melody, making the nocturne a kind of instrumental song. Usually nocturnes are written for piano, but similar works are also found for other instruments, as well as for ensembles and orchestras.

  The first composer to write nocturnes in modern meaning of this word was John Field. He created 18 piano nocturnes, which are still included in the repertoire of pianists.

  The piano nocturne genre reached further flowering in the work of Frederic Chopin. He wrote 21 such plays. In Chopin's early works (for example, in the famous Es-dur nocturne, Op. 9 No. 2), Field's influence is noticeable; later the composer began to complicate the harmony, and even use a freer form.

  Nocturne became real business card romanticism. In the classical concept, night was the personification of evil, classical works ended with the triumphant victory of light over darkness. Romantics, on the contrary, preferred the night - the time in which the soul reveals its true features, when you can dream and think about everything, contemplating quiet nature, not burdened by the bustle of the day. Chopin's Nocturne is perhaps the most famous of the Romantic ones; It was the nocturne texture (a captivating melody floating above an accompaniment consisting of bass and rhythmic figuration of exquisite harmony) that became the composer’s calling card. Schumann sensitively depicted musical style Chopin, placing his unique musical portrait in one of the pieces of the piano cycle “Carnival” (No. 12 - lyrical nocturne). Nocturnes were also written by Karl Czerny, Franz Liszt, Edvard Grieg, Russian composers - Glinka (he wrote two of his nocturnes under the impression of Field's music), Balakirev, Tchaikovsky and other composers.

  Among the orchestral works of this genre, the most famous is the nocturne from Felix Mendelssohn's music to Shakespeare's comedy "The Dream of summer night" An outstanding example of impressionistic music is the Three Nocturnes (Clouds, Festivities, Sirens) by Claude Debussy.

  In the 20th century, some composers tried to rethink the artistic essence of the nocturne, using it to no longer depict lyrical night dreams, but ghostly visions and natural sounds of the night world. This was started by Robert Schumann in the Nachtstücke cycle; this approach was more actively manifested in the works of Paul Hindemith (Suite “1922”), Bela Bartok (“Night Music”) and a number of other composers.

Chopin's Nocturnes

Nocturne is one of the characteristic genres of romantic art. The French word nocturne means “night.” This term appeared in the music of the 18th century. At that distant time, this word was used to describe pieces performed in the open air, most often with wind or string instruments. They were close to instrumental serenades or divertissements.

In the 19th century, a completely different nocturne appeared - a dreamy, melodious piano piece, inspired by the image of the night, night silence, night thoughts.

The Irish composer and pianist John Field was the first to write piano nocturnes.

John Field is an Irish musician who spent many years in Russia and created his numerous nocturnes here. “The Romantics first showed a deep artistic interest in this genre of “night music.” Pictures of night nature, scenes of love affairs against the backdrop of a moonlit night, various moods of a lonely romantic artist - now suppressed by the elemental power of a night thunderstorm, now dreaming on the river bank... about vague and distant happiness... - all these... romantic images , well known not only in music, but also in poetry and painting,” wrote V. Ferman.

We find nocturnes in the works of Glinka, Tchaikovsky, Schumann. But the most famous are Chopin's nocturnes. Dreamy or poetic, strict or mournful, stormy or passionate, they form a significant part of the work of this piano poet.

Chopin began writing these romantic plays in the 1930s. Chopin's nocturnes differ significantly from D. Field's nocturnes.

Chopin began writing nocturnes while still in Warsaw. Nocturne, published after the composer's death under op. 72, composed in 1827, and op. 9 dates from 1829-1830. The general chronology of Chopin's works is conducted by date lifetime edition, from which we can conclude that the creation of the vast majority of nocturnes dates back to the period of the 30s and early 40s. With the exception of the youthful nocturne cis-minor. In total, Chopin, including the posthumously published E minor, has nineteen nocturnes.

Field's nocturnes are usually based on one musical image; the manner of presentation resembles a song with accompaniment: right hand leads the melody, the other voices accompany it. Chopin's nocturnes are much deeper in content. They are distinguished by the richness of musical images and the power of creative imagination. Most of Chopin's nocturnes are based on the contrast of two images.

Chopin's inspired lyricism finds its specific means of expression in nocturnes. With purely Mozartian generosity, Chopin scatters his beautiful melodies in them. Extremely expressive, spontaneous, they sound like a naturally flowing song, like a living human voice. In the nocturnes, the song and vocal origins of Chopin's melodicism are most obvious.

An exciting nocturne by Chopin...
The night of poetry is carried away by a fallen leaf.
How slow and inspired
The pianist plays his dream.
In moments soaring - eternity,
Chords, notes of a magical moment.
A world of illusions - infinity,
Soaring phrases...
The moon's midnight face...

Three Nocturnes Op. 15 are works that are considered the pinnacle of Chopin's work.

One of best works Chopin in this genre - Nocturne in F sharp major, Op. 15 No. 2. Like a song flowing in the silence of the night, a soulful melodious melody sounds.

The fullness of lyrical feeling results in a passionate impulse. It’s like a sudden whirlwind (maybe despair, passion) interrupts the dreaminess of the song. As much as the first section of the form is calm and dreamy, the middle section is so excited and anxious. After it, the melody of the first movement sounds completely different in the reprise. And only in the code does the tension of the topic disappear and everything calms down.

Nocturne in F major, Op. 15 No. 1 begins with a gentle, unusually light melody. The second movement - con fuoco ("With fire") - is unexpectedly dramatic and stormy. Peace reigns again only at the very end, with the return of the first theme.

Nocturne in G minor, Op. 15 No. 3 begins with a sad melody folk song. She sounds more and more plaintive, shrill and bitter. The next fragment resembles a chorale, constructed as a sequence of chords indicating modulation (change of keys within one piece). At the end, a questioning motive sounds - “a cry for lost love.”

Nocturne in D-flat major, Op. 27 No. 2 - beautiful with transparent beauty. Chopin repeatedly transforms the crystal clear melody underlying the composition, using the most sophisticated technical means (trills, melismas, passages, diminished fourths and fifths).

Warm intoxication summer night, the poetry of a night date sounds in the tender and passionate music of this play. The main theme seems to be imbued with a living and vibrant human breath.

In the middle part of the nocturne, a growing excitement is heard, but it again gives way to the main clear and bright mood that dominates this piece. A piercing, passionate romantic melody leads us to a passionate climax, and then to a quiet, calm ending. The nocturne ends with a wonderful duet-conversation between two voices.

About the Nocturne in E flat major, Op. 9 No. 2, it is known that Chopin wrote its beginning on a piece of paper in a letter to Maria Wodzinska, his beloved. This nocturne has always been a big hit with the public. Its sleepy flow, calm chords in the left hand part, full of lyricism, bliss and romantic sensuality fascinate and bewitch the heart. The composer himself loved this work and often performed it at concerts or simply played it for students, each time finding pleasure in changing the ornamentation.

Presentation

Included:
1. Presentation - 10 slides, ppsx;
2. Sounds of music:
Chopin. Nocturne in E flat major (Op. 9 no. 2), mp3;
Chopin. Nocturne in D-flat major (Op. 27 No. 2), mp3;
Chopin. Nocturne in G minor (Op. 15 No. 3), mp3;
Chopin. Nocturne in F major (Op. 15 no. 1), mp3;
Chopin. Nocturne in F sharp major (Op. 15 No. 2), mp3;
3. Accompanying article, docx.

The nocturne genre originated in the Middle Ages. Then a nocturne was the name given to the part of the religious Catholic service performed between midnight and dawn (like Orthodox matins). The nocturne emerged from the purely religious genres in the 18th century, turning into a chamber piece performed at night in the open air (Nachtmusik). The classical nocturne had nothing to do with the modern understanding of the genre (it was not a lyrical miniature) and was often written in the form of a sonata-symphonic cycle (for example, “A Little Night Serenade” by Mozart).

The nocturne is usually based on a widely developed melodious melody, making the nocturne a kind of instrumental song. Usually nocturnes are written for piano, but similar works are also found for other instruments, as well as for ensembles and orchestras.

The first composer to write nocturnes in the modern sense of the word was John Field. He created 18 piano nocturnes, which are still included in the repertoire of pianists.

The piano nocturne genre reached further flowering in the work of Frederic Chopin. He wrote 21 such plays. In Chopin's early works (for example, in the famous Es-dur nocturne, Op. 9 No. 2), Field's influence is noticeable; later the composer began to complicate the harmony and even use a freer form.

The nocturne became a real hallmark of romanticism. In the classical concept, night was the personification of evil; classical works ended with the triumphant victory of light over darkness. Romantics, on the contrary, preferred the night - the time in which the soul reveals its true features, when you can dream and think about everything, contemplating quiet nature, not burdened by the bustle of the day. Chopin's Nocturne is perhaps the most famous of the Romantic ones; It was the nocturne texture (a captivating melody floating above an accompaniment consisting of bass and rhythmic figuration of exquisite harmony) that became the composer’s calling card. Robert Schumann sensitively portrayed Chopin's musical style, placing his unique musical portrait in one of the pieces of the piano cycle "Carnival" (No. 12 - lyrical nocturne).

Nocturnes were also written by Karl Czerny, Franz Liszt, Edvard Grieg, Russian composers - Glinka (he wrote his two nocturnes under the impression of Field’s music), Balakirev, Tchaikovsky and other composers.

Among the orchestral works of this genre, the most famous is the nocturne from Felix Mendelssohn's music to Shakespeare's comedy A Midsummer Night's Dream. An outstanding example of impressionistic music are three nocturnes (“Clouds”, “Festivities”, “Sirens”)

Dark, almost black shores. Dark mirror of the river. Calm sky and a huge greenish moon on it. Her reflection, like a magical path, crosses the seemingly motionless water.

This painting exudes amazing peace and quiet. Anyone who has ever seen this picture will never forget it. This is A.I. Kuindzhi, “Night on the Dnieper”. And here is another picture:

Quiet Ukrainian night.
The sky is transparent.
The stars are shining.
Overcome your drowsiness
Doesn't want air.
They tremble a little
Silver poplar leaves.
The moon is calm from above
Shines over the White Church
And the lush hetmans' gardens
And the old castle lights up.

Both Kuindzhi’s painting and the excerpt from Pushkin’s poem “Poltava” can be defined as a kind of nocturne.

The French word “nocturne”, like the Italian “notturno”, literally means night. This term, used in various arts, appeared in the music of the 18th century. At that time, nocturnes were plays intended to be performed outdoors at night. Multi-movement works, most often for several winds and string instruments, were close in nature to instrumental serenades or divertissements. Sometimes vocal nocturnes were performed - one-part compositions for one or several voices.

In the 19th century, a completely different nocturne emerged: a dreamy, melodious piano piece, inspired by images of the night, night silence, night thoughts. Both Kuindzhi’s painting and Pushkin’s poems are associated with just such a nocturne.

The Irish composer and pianist John Field was the first to compose lyrical piano nocturnes. Field lived in Russia for a long time. Young Glinka took piano lessons from him. Perhaps this is why the great Russian composer wrote two piano nocturnes. The second of them, called “Separation,” is widely known.

Tchaikovsky, Schumann and other composers wrote nocturnes. However, the most famous are Chopin's nocturnes. Sometimes dreamy and poetic, sometimes strict and mournful, sometimes stormy and passionate, they make up a significant part of the work of this piano poet.

L. V. Mikheeva

At night people usually sleep. However, for you, young people, this time of day has a special romance, mystery, and poetry. You perceive all the shades of nature and the moods of the night. Your feelings are heightened, everything is perceived more seriously and more significant than in the morning or afternoon, which seem much more prosaic.

This is how the night was also perceived by romantic composers, who loved to compose musical pieces of a mysterious, dreamy nature, sometimes passionately pathetic, dramatic, contemplative, etc. They are called nocturnes. The French word nocturne means "night". Now we mostly know the nocturnes of F. Chopin and his contemporaries, but this one was born musical genre back in the 18th century. Back then they loved to perform music in the open air, including at night, accompanied by beautiful lighting. Selections of plays (suites) are usually for wind ensembles, as they are the most mobile and easily heard in the air (“in the open air,” as they said then), and were called nocturnes.

M. G. Rytsareva

A nocturne these days is a name given to a small instrumental piece of a dreamy lyrical nature.

French nocturne means "night". This name in its French and Italian versions has been known since the Renaissance and meant instrumental night music of a light entertaining nature.

Night music became widespread in the 18th century. This genre flourished especially magnificently in Vienna, a city that at that time lived with an intense and very peculiar musical life. Music was an important aspect of the various entertainments of the Viennese; it sounded everywhere - at home, on the street, in numerous pubs, at city festivities. Music also intruded into the night silence of the city. Numerous amateur musicians organized night processions with music and performed serenades under the windows of their chosen ones. This kind of music, intended for performance in the open air, was usually a kind of suite - a multi-part instrumental piece. Varieties of this genre were called serenades, cassations, divertissements and nocturnes. The difference between one variety and another was very slight.

The fact that nocturnes were intended to be performed outdoors determined the characteristics of this genre and the means of performance: such pieces were usually written for an ensemble of wind instruments, sometimes with strings.

It is interesting to note that the night music of the 18th century did not at all have the languid lyrical character that appears in our minds when we talk about a nocturne. Works of this genre acquired this character much later. Nocturnes of the 18th century, on the contrary, are distinguished by a cheerful, by no means “night” tone. Often such suites began and ended with a march, as if depicting the arrival or departure of the musicians. Examples of such nocturnes are found in I. Haydn and W. A. ​​Mozart.

In addition to instrumental nocturnes, in the 18th century there were also vocal-solo and choral nocturnes.

In the 19th century, in the works of romantic composers, the nocturne genre was rethought. Nocturnes of the romantics are no longer extensive night suites, but small instrumental pieces

dreamy, thoughtful, calm character, in which they sought to convey various shades of feelings and moods, poetic images of night nature.

The melodies of nocturnes in most cases are distinguished by their melodiousness and wide breathing. The nocturne genre has developed its own “nocturne-like” accompaniment texture; it represents a swaying, swaying background that evokes associations with landscape images. The compositional structure of nocturnes is a 3-part form, i.e. one in which the 3rd part repeats the 1st; in this case, usually the extreme, calmer and lighter parts are contrasted with the excited and dynamic middle.

The tempo of nocturnes can be slow or moderate. However, the middle (if there are 3 parts) is usually written at a more brisk pace.

In the vast majority of cases, nocturnes are written for solo instrumental performance and mainly for piano. The creator of the romantic piano nocturne was the Irish pianist and composer John Field (1782-1837), who lived most of his life in Russia. His 17 nocturnes create a style of gentle, melodious piano playing. The melody of these nocturnes is usually romance-like and melodious.

Nocturne, a poetic genre of romantic music, could not help but attract the most poetic of the romantic composers, Frederic Chopin. Chopin wrote 20 nocturnes. Their main emotional tone is dreamy lyrics of a wide variety of shades. In his work, the nocturne reached the highest artistic perfection and turned into a concert work of significant content. Chopin's nocturnes are diverse in character: bright and dreamy, mournful and thoughtful, heroic and pathetic, courageously restrained.

Perhaps Chopin's most poetic piece is the Nocturne in D-flat major (Op. 27, No. 2). The rapture of a warm summer night, the poetry of a nightly date sound in the tender and passionate music of this play. The main theme seems to be imbued with a living and vibrant human breath.

In the middle part of the nocturne, a growing excitement is heard, but it again gives way to the main clear and bright mood that dominates this piece. The nocturne ends with a wonderful duet-conversation between two voices.

Following Chopin, many Western European and Russian composers turned to the nocturne genre: R. Schumann, F. Liszt, F. Mendelssohn, E. Grieg, M. Glinka, M. Balakirev, A. Rubinstein, P. Tchaikovsky, S. Rachmaninov, A. .Scriabin.

The nocturne genre occupies a fairly significant place in the work of Russian composers. The nocturnes of Russian classics capture perhaps their most sincere statements.

Composers of a later period also turn to this genre. S. Rachmaninov's 4 youthful nocturnes (3 of them were written at the age of 14) attract with their freshness and sincerity of feeling.

Of the nocturnes written for orchestra, we can recall Mendelssohn’s nocturne and Debussy’s “Nocturnes.” However, if Mendelssohn’s nocturne retains all the stylistic features of this genre, then Debussy’s orchestral works – “Clouds”, “Festivities”, and “Sirens” - called by the author “Nocturnes”, are very far from the usual interpretation of the genre. These plays are contemplative and colorful musical pictures. Giving them the name “nocturnes”, the composer proceeded from a subjective impression generated by the color and play of night light.

Soviet composers relatively rarely turn to the nocturne genre in its traditional meaning. Giving his works the name “nocturne”, modern composers Usually they borrow from this genre only the general character and general figurative orientation of the music - they emphasize the intimate and lyrical side of the work.

In general, it is hardly accidental that these days nocturne is increasingly found in combination with other genres or is, as it were, a programmatic subtitle of a work. This can be seen as a manifestation of a general trend, a general pattern of development of the genre.

Thus, in our time the name “nocturne” acquires to some extent a programmatic character. However, the program itself, the range of images and moods that the composer wants to emphasize, calling the work a nocturne.