Hyperion Records

Nocturne in D flat major, Op 27 No 2
composer
1835; published 1836; Lento sostenuto

Recordings
'Chopin: Preludes' (CKD475)
Chopin: Preludes
CKD475  Download only 20 October 2014 Release  
'Simon Barere – His celebrated live recordings at Carnegie Hall, Vol. 2 – 9 March 1947' (APR5622)
Simon Barere – His celebrated live recordings at Carnegie Hall, Vol. 2 – 9 March 1947
MP3 £6.99FLAC £6.99ALAC £6.99 APR5622  Download only  
'Chopin: Nocturnes' (CDD22013)
Chopin: Nocturnes
MP3 £7.99FLAC £7.99ALAC £7.99Buy by post £10.50 CDD22013  2CDs Dyad (2 for the price of 1)  
'Chopin: Nocturnes & Impromptus' (CDA67371/2)
Chopin: Nocturnes & Impromptus
MP3 £15.49FLAC £15.49ALAC £15.49Buy by post £20.00 Studio Master: FLAC 24-bit 96 kHz £23.25ALAC 24-bit 96 kHz £23.25 CDA67371/2  2CDs   Studio Master FLAC & ALAC downloads available
'Chopin: Piano Sonatas Nos 2 & 3' (CDA67706)
Chopin: Piano Sonatas Nos 2 & 3
'Chopin: Piano Sonatas Nos 2 & 3' (CDA30006)
Chopin: Piano Sonatas Nos 2 & 3
MP3 £7.99FLAC £7.99ALAC £7.99Buy by post £8.50 CDA30006  Hyperion 30th Anniversary series  
'Chopin: Reminiscences' (CKD248)
Chopin: Reminiscences
MP3 £8.00FLAC £10.00ALAC £10.00 CKD248  Download only  
'Chopin: The Complete Works' (CDS44351/66)
Chopin: The Complete Works
MP3 £45.00FLAC £45.00ALAC £45.00Buy by post £50.00 CDS44351/66  16CDs Boxed set (at a special price)  
'In the Night' (CDA67996)
In the Night
MP3 £7.99FLAC £7.99ALAC £7.99Buy by post £10.50 Studio Master: FLAC 24-bit 96 kHz £12.00ALAC 24-bit 96 kHz £12.00 CDA67996  Studio Master FLAC & ALAC downloads available
'Moriz Rosenthal – The complete recordings' (APR7503)
Moriz Rosenthal – The complete recordings
MP3 £16.49FLAC £16.49ALAC £16.49 APR7503  Download only  
'Solomon – The first HMV recordings' (APR5503)
Solomon – The first HMV recordings
MP3 £6.99FLAC £6.99ALAC £6.99 APR5503  Download only  
'The Piano G & Ts, Vol. 4 – Diémer, Eibenschütz, Hofmann & Backhaus' (APR5534)
The Piano G & Ts, Vol. 4 – Diémer, Eibenschütz, Hofmann & Backhaus
MP3 £6.99FLAC £6.99ALAC £6.99 APR5534  Download only  
'Chopin: Nocturnes & Impromptus' (SACDA67371/2)
Chopin: Nocturnes & Impromptus
This album is not yet available for download SACDA67371/2  2CDs Super-Audio CD — Deleted  
'Hyperion monthly sampler – May 2014' (HYP201405)
Hyperion monthly sampler – May 2014
MP3 £0.00FLAC £0.00ALAC £0.00 FREE DOWNLOAD HYP201405  Download-only monthly sampler  
Details
Track 31 on CKD475 [5'54] Download only 20 October 2014 Release
Track 8 on CDS44351/66 CD8 [6'07] 16CDs Boxed set (at a special price)
Track 7 on CDA30006 [5'48] Hyperion 30th Anniversary series
Track 7 on CDA67706 [5'48]
Track 6 on CDA67996 [5'30]
Track 10 on CDD22013 CD1 [5'55] 2CDs Dyad (2 for the price of 1)
Track 8 on CKD248 [7'22] Download only
Track 5 on APR5622 [6'00] Download only
Track 5 on APR5534 [3'34] Download only
Track 10 on APR7503 CD4 [4'56] Download only
Track 4 on APR5503 [5'28] Download only
Track 10 on SACDA67371/2 CD1 [6'05] 2CDs Super-Audio CD — Deleted
Track 1 on HYP201405 [5'30] Download-only monthly sampler

Nocturne in D flat major, Op 27 No 2
EnglishFrançaisDeutsch
The genre title ‘nocturne’ was fairly commonplace in early nineteenth-century piano music, influenced no doubt by the enhanced cultural status of the night (famous texts by Novalis and Madame de Staël), and also by the growing importance of the salon as a site of pianism. Initially it was applied to a wide diversity of pieces, but in the hands of John Field and Chopin it came to be associated with a pianistic style shaped by vocal imitation, whether of the French romance or the Italian aria. By the time Chopin came to compose his Nocturnes Op 27 in 1835, the genre was already a well-established one, with the archetype of the ‘nocturne sound’—ornamental melody supported by widespread arppeggiations—firmly in place. The Nocturnes of Op 27 broadly conform to this, but they did mark an intriguing change in how Chopin presented this genre to the world. From this point onwards, he published his Nocturnes in contrasted pairs rather than in groups of three, giving greater weight to the individual pieces within an opus but at the same time preserving a sense of their mutual compatibility. Chopin was happy to perform the individual Nocturnes of Op 27 separately (especially the second, which he played in Paris, England and Scotland), but he conceived them as perfectly complementary, with the darkly brooding C sharp minor of the first (James Huneker referred to ‘the gloomiest and grandest of Chopin’s moody canvasses’) transformed enharmonically into the consolatory, oneiric D flat major of the second. That these were pieces of exceptional artistic quality was immediately recognized when they were published in 1836, not least by Schumann in the pages of Neue Zeitschrift für Musik, where he described them as exemplifying a ‘new wave’ of piano music.

There are two formal principles underlying a good deal of Chopin’s music, and they are neatly exemplified by the two Nocturnes of Op 27. The C sharp minor relies on contrast. It is an expansive ternary design in which the middle section steps up the tempo and even more the drama, culminating in a brief waltz-like episode (another typical gesture; compare the First Ballade and Second Scherzo). The D flat major, on the other hand, is through-composed and goal-directed, and its construction is immensely subtle. There are two alternating melodies, of which the first is non-repetitive and aria-like, elaborated with an ever more expressive ornamentation, but remaining essentially static, if music can ever be static. The energy and momentum is provided by the second, stanzaic melody, which is developmental in character. Here the ornamentation has a rather different function. It is not so much an expressive enhancement of the melody as a means of driving the music in a dynamic and evolutionary way towards its major tension points; in other words it plays a key structural role in the music. Taken together, the two themes represent Chopin’s ornamental melody at its finest. The opera house was one obvious influence; Mozart another.

from notes by Jim Samson © 2009

Track-specific metadata
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Details for APR7503 disc 4 track 10
Artists
ISRC
GB-SAM-10-50410
Duration
4'56
Recording date
22 May 1936
Recording venue
Abbey Road Studios, London, United Kingdom
Recording producer
Recording engineer
Hyperion usage
  1. Moriz Rosenthal – The complete recordings (APR7503)
    Disc 4 Track 10
    Release date: December 2011
    Download only
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