Natalia Sokolovskaya - Chopin: Complete Nocturnes, Vol. II (2022)

Were we committed to tracing Chopin’s melodic evolution, it is in the nocturnes that we find a possible answer. From the operatic archetypes found in the early Op. 9 to the narcotic orientalism in the first of Op. 62, the last set that Chopin published, bel canto had a fundamental role in shaping the composer’s melodic consciousness. It is often said that it is in the intimate nature of the salon that Chopin’s nocturnes should be placed; it was mostly women who performed them in public in the 19th century, precisely because of their purported feminine qualities. But we also witness devastating outbursts in the middle sections of Op. 9 No. 3, Op. 15 Nos. 1 and 3, or in the operatic climax to which the heart of the Op. 55 No. 1 gives rise. Truly, in his nocturnes Chopin manages to express an entire gamut of emotions - not just the feeble tones and dreamy atmospheres with which they are often associated. As Chopin experiences the evolution of French and Italian operas of the 1830s, his nocturnes become more complex and imposing. From the somewhat simple structures of Opp. 27, 32, and 37, with the Two Nocturnes, Op. 48 we perceive a change in direction. The writing becomes thicker, we might say more symphonic - especially in the central episode of the first nocturne (a similar approach is used in the Fantaisie, Op. 49, written contemporaneously). But the most significant change was perhaps dictated by the composer’s interest in counterpoint, which peripherally molded the writing of Op. 55 (the duet interwoven within the right hand throughout No. 2 is truly masterful) and prominently affected the conception of Op. 62 (four-part writing in the outer sections of the first, and canons in the middle section of the second). Alongside the eighteen nocturnes that Chopin published during his lifetime, we find three compositions that were published posthumously. One of them (in E Minor, Op. 72, No. 1, supposedly from 1827) was discovered among the manuscripts that twice, on his deathbed, he begged to have thrown in the fire (a wish that was not honored). It was published in 1855. A second work, a stylized operatic aria in the key of C minor (B. 108), dating from 1837 and gifted to Charlotte Rothschild as a presentation autograph, was published under the title “Nocturne” in 1860. A third composition, this time from 1830 and in the key of C-sharp minor (KKIVa/16), was a potpourri of ideas in which Chopin quoted motifs from his second Piano Concerto. Dedicated “to my sister Ludwika as an exercise before beginning the study of my second Concerto,” the untitled piece was published as “Nocturne” for the first time in 1875.
Extraordinary pianist Natalia Sokolovskaya [Janacek, L.: Piano Works (On an Overgrown Path, Sonata '1 X 1905', In the Mists) (OnClassical OC18060C)] performed these Chopin's 20 Nocturnes in a very sensitive and musical way.
We are proud of this recording that we present in two different sound takes using two different pairs of historical Danish Brüel & Kjær. Recording was managed as ever by producer Alessandro Simonetto.

Tracklist:

1. Nocturne in G Minor, Op. 37 No. 1 (1)
2. Nocturne in G Major, Op. 37 No. 2 (1)
3. Nocturne in C Minor, Op. 48, B. 142 No. (1)
4. Nocturne in F-Sharp Minor, Op. 48, B. 142 No. 2 (1)
5. Nocturne in F Minor, Op. 55, B. 152 No. 1 (1)
6. Nocturne in E-Flat Major, Op. 55, B. 152 No. 2 (1)
7. Nocturne in B Major, Op. 62, B. 161 No. 1 (1)
8. Nocturne in E Major, Op. 62, B. 161 No. 2 (1)
9. Nocturne in E Minor, Op. 72, B. 19 No. 1 (1)
10. Nocturne in G Minor, Op. 37 No. 1 (2)
11. Nocturne in G Major, Op. 37 No. 2 (2)
12. Nocturne in C Minor, Op. 48, B. 142 No. 1 (2)
13. Nocturne in F-Sharp Minor, Op. 48, B. 142 No. 2 (2)
14. Nocturne in F Minor, Op. 55, B. 152 No. 1 (2)
15. Nocturne in E-Flat Major, Op. 55, B. 152 No. 2 (2)
16. Nocturne in B Major, Op. 62, B. 161 No. 1 (2)
17. Nocturne in E Major, Op. 62, B. 161 No. 2 (2)
18. Nocturne in E Minor, Op. 72, B. 19 No. 1 (2)