Soon enough however, Chopin employs his soon-to-be trademark rhythmic freedom, as a swathe of 11 chromatic notes followed by 22 in a single bar all as tuplet quavers take over the melody. The main melody, introduced in the first few bars, begins rhythmically matched to its accompanying left hand, with a gently swaying melody. ![]() ![]() Written in a mildly unorthodox 6/4 metre and B-flat minor it is characterised by a constant arpeggiaic quaver motion in the left hand, with Chopin’s typical elegance floating above it. Heavily overshadowed by its far more famous sister composition, the second in E-flat (not unlike Franz Liszt’s Liebestraum, with the third Nocturne being the one everyone knows), it heralds some of Chopin’s delightful nuances which echo throughout many of his other compositions, not however restricted to his Nocturnes. Being the first of Chopin’s 21 Nocturnes I regretfully admit that I overlooked this one.
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