No. 5, Op. 15-2, F-sharp Major

While this Nocturne may not be technically challenging for those with large hands, it is arguably one of the most musically demanding in the repertoire. It is intended more for those who possess a deep understanding of Romantic music rather than merely extensive experience playing Chopin. It contains a significant lyrical element, requiring careful pacing to allow for necessary rubato without disrupting the overall flow.

Regarding the tempo of this Nocturne, opinions vary considerably among professional pianists and experienced instructors. Although marked Larghetto, it is also in duple meter. When the author performs this piece, a relatively slow tempo is adopted. The sole reason for this is the desire to maintain a continuous flow. The reason a slower tempo helps maintain flow lies in the numerous small note values found throughout this Nocturne. To play these notes with a natural flow at a fast tempo, one would either have to drastically slow down only those specific passages, or conversely, play the small notes mechanically at an imperceptible speed. Both approaches result in an unnatural performance.

Tempo Guidance

For instance, consider measure 11. This measure contains many notes in the right hand, along with a 'leggiero' marking. Try playing this measure without rushing, yet not too slowly. Next, try playing measures 60-61 under the same conditions. You might find a more reliable tempo in measures 60-61. Consider that your basic tempo. It would be good to start with that tempo. By doing so, many measures can proceed with a natural flow without rushing or drastically slowing down (many performers encounter trouble with the left-hand triplet on the 'and' of beat one in measure 59. This section requires practice, but try to set a tempo that allows this measure to progress smoothly).

Analysis of Opening Phrases

Now, let's examine the opening. Enter with ample time, as indicated by the 'sostenuto' marking. In measure 1, the chord consists of C-sharp, E-sharp, G-sharp, and B. Therefore, only the A-sharp in the right hand on the first beat is a non-chord tone. From here, this becomes a subjective discussion, but the author finds it undesirable for this A-sharp to linger with the pedal. Therefore, sustain the C-sharp in the left-hand bass with the pinky, and change the pedal when the right hand plays the next sixteenth-note G-sharp. This way, the bass is not lost, and the muddiness of the A-sharp can be avoided.

The first phrase extends to the downbeat of the second beat in measure 2. The C-sharp on the first beat of measure 2 is the goal note, but the treatment of the subsequent thirty-second notes is crucial. These notes should be played as lightly and fleetingly as possible. Interpretively, the truly important melodic line concludes on C-sharp, with the subsequent notes serving as light, unimportant additions. While I hesitate to translate this into everyday speech, consider them as very light, almost conversational additions, like "isn't it?", "wasn't it?", or "don't you agree?". Measures 3-4 constitute the second phrase, but this time, quintuplets appear in both measures. This conveys the exact same sentiment as measures 1-2, but with a different manner of expression. It's a more coquettish way of speaking.

Analysis of Measures 5-8

The third phrase, spanning measures 5-8, is longer. In measure 5, the character already differs from the chord in measure 1, so increase the tension. The goal note is F-sharp in measure 6. Do not rush into this F-sharp. Reach the F-sharp slowly and deliberately. Once F-sharp is reached, gradually diminish towards measure 8. Measures 7-8 merely descend along an F-sharp major scale, in the order of B, A-sharp, G-sharp, F-sharp, E-sharp, D-sharp, C-sharp.

However, measure 7 is where Chopin's inherent polyphonic power is demonstrated. On the 'and' of beat one, it temporarily becomes four voices. In the right hand, B descends to G-sharp via a passing tone, so the G-sharp should be weak, without accent. This is straightforward. The D-sharp in the left-hand upper voice diminishes to B-sharp, then C-sharp. The F-sharp in the left-hand middle voice resolves to E-sharp on the 'and' of beat two. Sustain the C-sharp in the bass. Consider the chord on the 'and' of beat one to resolve on the 'and' of beat two. Then take a breath (right-hand thirty-second rest) and enter measure 8; on the downbeat of the first beat in measure 8, there is a V chord (D-sharp, F-sharp, A-sharp), and on the 'and' of the first beat, a borrowed diminished seventh chord appears, which then resolves on the second beat.

While this is merely an analysis, when considering measures 7-8 musically, the numerous non-chord tones and chord progressions reveal a deeply troubling and intensely emotional expression. Do not play it superficially. Perform it with a keen sensitivity to Chopin's sentiment.

Emotional Interpretation and Specific Measures

From the 'and' of the second beat in measure 8, the melody of measure 1 returns, but look at the score! How magnificent, rich, warm, and full of joy it is! It is entirely different from measure 1. Fully express this feeling of 'happiness,' 'stability,' and 'luxury.' In this measure too, if the non-chord tone A-sharp is a concern, avoid it using the technique previously described.

Measures 10-11 depict a state of anxiety and restlessness. However, never rush. Never play the final G-sharp of measure 11 and the first G-sharp of measure 12 consecutively. Take a breath at the end of measure 11 before entering measure 12.

Measure 14 is the peak of this section; here, similar to or even more than the F-sharp in measure 6, take your time and arrive slowly. Observe the left hand in measure 14. This is a pattern that has not appeared before. Until now, the left-hand accompaniment pattern has been descending on the 'and' of the second beat. Only in measure 14 does the left hand continuously ascend. This implies sustaining the pedal and entering a world of fantasy.

Now, from measure 16, we enter the B section within the A section (analysis may vary by individual; this could also be considered A of the B section; in any case, regard it as a new section). In my personal opinion, it might be acceptable to push the tempo slightly forward here. A slightly faster tempo might be appropriate, don't you think? In measure 17, the descending figure in the right hand should descend almost like a glissando. Avoid playing it marcato.

Measures 22-24 are a very troubling and dramatic section. In measures 22-24, the first note of the right hand on the first beat is a non-chord tone occurring on a strong beat. A strong expression is desired here. From measure 25, a common mistake is the disruption of the quintuplet rhythm. The right hand plays quintuplets continuously until measure 32, and the rhythm changes from measure 33 onwards. The 'Doppio movimento' in this B section, starting from measure 25, means 'at double the speed.' This is likely the most technically challenging part of this Nocturne. Ultimately, make only the top notes clearly audible, and play the rest at ppp. From measure 31, gradually crescendo, aiming for measure 40.

Thereafter, almost the same instructions as the opening A section are repeated, but personally, the chord on the 'and' of the first beat in measure 57 is a powerful one. I believe it should be played forte. The left-hand triplet on the 'and' of the first beat in measure 59 should be played as leggiero as possible, but without losing the sound.