The Nocturne in B major is as contrapuntal as anything Chopin ever wrote, with the left hand playing a much bigger role than simply accompanying. The phrases seem unending, one overlapping into the next. The middle section is totally operatic, with the melody boldly sustained over syncopated chords. When we return to the opening material, the melody is richly ornamented with trills and flourishes. As with Bach, the ornamentation is not just superimposed, but rather part of the melodic line itself. A short bridge section after an expressive pause wanders gradually back to the tonic. The coda is dream-like and solitary.
from notes by Angela Hewitt © 2004