Mike Herrera
Prof. Granade
John Field:
Sonatas and Nocturnes
Today, John Field is known as the inventor of short lyric piano pieces titled “nocturnes,”
Prof. Granade
John Field:
Sonatas and Nocturnes
Today, John Field is known as the inventor of short lyric piano pieces titled “nocturnes,”
a term stilled used by composers today. In his own time, he was known for his artistry on piano
and for his large body of compositions. Most of his works were written for his own recitals, concerts, and chamber performances. Like Chopin, Field included a piano in every single one of his compositions; in fact, most of them were for solo piano. Field composed his pieces according to his style of playing, which was known to be calm and have brilliant smooth singing style. All of his sonatas have only two movements and none of them have a slow movement; In fact owing to, the way pianos played at that particular time. Pianos of that day could not sustain a tone very long, and that made it very hard to write slow works. By far, Field was known for is “nocturne,” the works that virtually created the genre of the small piano pieces. All of his nocturnes offered a single mood, emphasizing a melodic line in the style of bel canto. Field’s romantic side is truly brought out in his nocturnes.
Field’s “Nocturnes,” each have their own characteristics. The first “Nocturne” on the cd, “Sonatas of John Field Nocturnes No.3, No.7, and No.17” are Field’s Sonatas, Op.1 No. 1-4. is entitled “Nocturne no.3”. This is in a three four time and uses a lot of rebate. This one almost gave me the felling of a waltz. I not sure I could dance to it, but that feel was heard. The second nocturne was Moderato number seven. It starts off with two notes being played at an interval of a fourth, using an echo (were one sequence is played and then immediately repeated but at a softer dynamic). I could hear the colors Field was going for in this nocturne. I tried to paint an image of this work and pictured a sunset. This piece, to me, came off more visual and romantic than the first nocturne. The last nocturne, number seventeen, seemed more virtuosic than the other two. Not loud, but more notes. He uses more running lines and more of the right hand. All off it seemed to be all at the same dynamic.
Field’s four Sonatas are different from his nocturnes. The first sonata has two movements: “Allegro moderato” and “Rondo Allegretto”. The “Allegro” movement did not grab my attention; it is too repeative. However, Field’s smooth melodic writing is shown throughout this movement. Field’s second movement, “Rondo” was the opposite and- quickly caught my attention. It starts off happy and almost like a laugh. The bass notes outlining a major chord, with the articulation of a staccato, helps create this childlike laughter. This is the common theme throughout this movement.
Field’s second sonata, first movement, starts off with brilliance. At first, the movement never seems to get to loud. In fact it comes off very child like. I am not a piano player but it seems like this would show off a sensitive touch on the piano. Towards the end of the movement the music comes to a crescendo and right at the climax, there is a sudden break or silence. This created a nice dramatic pause. Field then comes in very soft with recurring theme. I enjoyed this part of the movement. His third sonata and his fourth sonata sounded to me a lot like the first two sonatas. Mid way through the third sonata I wanted to skip ahead to the nocturnes. All four are great to listen to, just not one right after another.
Overall, I liked Field’s sonatas and nocturnes. To me his works are like a fine wine –they. Takes an acquired taste. It is not in your face type playing, it is more based on how sensitive the musician can be at the piano. All of Field’s works seem to be this way. It takes great timing and sensitivity to the keys. Sometimes, Field would decrescendo into a particular note he is aiming for, and when that note is about to be played, a chord is played with it. That chord and the touch will make or break that line. I personally enjoyed Field’s nocturnes more than his sonatas. Each one has a character and is unique. His sonatas are great, but sound too much alike. Also everything seemed too happy. Do not get me wrong, I enjoy happy music. I am just wondering does this guy ever get mad or sad? I would recommend these works to anybody, but to be opened minded and to really listen to what Field is going for.
Field’s “Nocturnes,” each have their own characteristics. The first “Nocturne” on the cd, “Sonatas of John Field Nocturnes No.3, No.7, and No.17” are Field’s Sonatas, Op.1 No. 1-4. is entitled “Nocturne no.3”. This is in a three four time and uses a lot of rebate. This one almost gave me the felling of a waltz. I not sure I could dance to it, but that feel was heard. The second nocturne was Moderato number seven. It starts off with two notes being played at an interval of a fourth, using an echo (were one sequence is played and then immediately repeated but at a softer dynamic). I could hear the colors Field was going for in this nocturne. I tried to paint an image of this work and pictured a sunset. This piece, to me, came off more visual and romantic than the first nocturne. The last nocturne, number seventeen, seemed more virtuosic than the other two. Not loud, but more notes. He uses more running lines and more of the right hand. All off it seemed to be all at the same dynamic.
Field’s four Sonatas are different from his nocturnes. The first sonata has two movements: “Allegro moderato” and “Rondo Allegretto”. The “Allegro” movement did not grab my attention; it is too repeative. However, Field’s smooth melodic writing is shown throughout this movement. Field’s second movement, “Rondo” was the opposite and- quickly caught my attention. It starts off happy and almost like a laugh. The bass notes outlining a major chord, with the articulation of a staccato, helps create this childlike laughter. This is the common theme throughout this movement.
Field’s second sonata, first movement, starts off with brilliance. At first, the movement never seems to get to loud. In fact it comes off very child like. I am not a piano player but it seems like this would show off a sensitive touch on the piano. Towards the end of the movement the music comes to a crescendo and right at the climax, there is a sudden break or silence. This created a nice dramatic pause. Field then comes in very soft with recurring theme. I enjoyed this part of the movement. His third sonata and his fourth sonata sounded to me a lot like the first two sonatas. Mid way through the third sonata I wanted to skip ahead to the nocturnes. All four are great to listen to, just not one right after another.
Overall, I liked Field’s sonatas and nocturnes. To me his works are like a fine wine –they. Takes an acquired taste. It is not in your face type playing, it is more based on how sensitive the musician can be at the piano. All of Field’s works seem to be this way. It takes great timing and sensitivity to the keys. Sometimes, Field would decrescendo into a particular note he is aiming for, and when that note is about to be played, a chord is played with it. That chord and the touch will make or break that line. I personally enjoyed Field’s nocturnes more than his sonatas. Each one has a character and is unique. His sonatas are great, but sound too much alike. Also everything seemed too happy. Do not get me wrong, I enjoy happy music. I am just wondering does this guy ever get mad or sad? I would recommend these works to anybody, but to be opened minded and to really listen to what Field is going for.
No comments:
Post a Comment