![]() ![]() In measure 27, the A section transitions into the B section, as the meter switches to 12Ĩ and the key to F minor (the relative minor of A ♭ major). It is structured in an A–B–B′–A′ format and features a melodic and bright main melodic theme in the A section, with a turbulent and dramatic theme in the B sections. The Nocturne in A-flat major is initially marked as lento and in 4Ĥ meter. ĭavid Dubal found the nocturne to be "of less importance, though characteristic in design and melodic contour." He also states the coda "completely shocks the listener out of reverie." According to Berkeley, the ending "defies analysis, but compels acceptance." Jim Samson states that "The interruption of the song by this startling passage of instrumental recitative submits to no formal logic, but rather brings directly into the foreground Chopin's desire to make the music 'speak'." The ending was both "dramatic and original" to James Friskin, in comparison to the simplicity of the rest of the piece. There has also been confusion over a key in the first bar of the last line: Theodor Kullak and Karl Klindworth use a G, while Julian Fontana used an F ♯. The piece is 65 measures long and, unusually, ends in the tonic minor key, B minor, although some editions (such as those by Rafael Joseffy as well as Chopin's student Carl Mikuli ) and performances (such as that by Arthur Rubinstein ) end with a B major chord, which has the effect of a Picardy third in the context of the minor-mode coda. The piece transitions to adagio in the last two measures, starting in measure 64. There are several ritardando markings throughout, followed by a tempo marking in the next measure, such as in measure 7, 8, 17 and 18. The Nocturne in B major is initially marked andante sostenuto and is in 4Ĥ meter. Problems playing this file? See media help. ![]()
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