Three Nocturnes, Op. 15

Of these three nocturnes, No. 1 and No. 2 were composed in 1831 or 1832, and No. 3 in 1833. The scores were first published in Paris (M. Schlesinger, 1833), Leipzig (Breitkopf und Härtel, 1834), and London (Wessel, 1834). The German pianist and composer Ferdinand Hiller (1811-1885), to whom this work was dedicated, was one of Chopin's few trusted musicians and close friends, and they performed together in concerts. Although not widely known, Hiller's name, alongside Liszt's, is inscribed on the dedication page of the first English edition of Chopin's Études, Op. 10, making him a particularly important figure among Chopin's circle in the 1830s.

Nocturne Op. 15 No. 3

This is a unique piece among Chopin's nocturnes, consisting of three sections: a lyrical part (measures 1-88, hereafter A), a chorale-like part (measures 89-120, hereafter B), and a mazurka-like part (measures 121-152, hereafter C). In section A, the melody is consistently presented in G minor, and the 12-measure melody introduced at the beginning appears four times, subtly varying in rhythm and the harmony of the accompaniment. This is followed by a modulating section, where two types of rhythmic motives (Example 1) appearing in the first two measures and measures 7-8 of the piece are used to modulate to remote keys such as F-sharp major.

Example 1: First 8 measures

Such persistent repetition somehow recalls Schumann, who was born in the same year as Chopin. In fact, Schumann was fond of this piece and attempted to compose variations based on it (however, he only completed up to the middle of the third variation).

Upon reaching a climax at measure 77, a series of chromatic harmonies alternates with the opening motive, rapidly descending in register to a low C-sharp, which is then struck repeatedly as a single note.

Example 2: Repetition of C-sharp and the beginning of the chorale

This C-sharp stands in an augmented fourth relationship to the tonic G. In the context of Western art music, the augmented fourth has long been shunned as the “devil's interval.” The C-sharp note has already been emphasized by being struck repeatedly as a bass pedal point from measure 63. It is profoundly significant that a heavenly F-major chorale, marked religioso (religiously), immediately follows the 25 measures (measures 63-87) dominated by C-sharp. The contrast between evil and the sanctity suggesting salvation seen here is likely due to Chopin's meticulous calculation, and only through this interpretation can it be rationally explained why Chopin deviated from G minor to remote sharp keys. The modulating section leading to C-sharp is also visually thorny. The omission of key signatures despite modulating to keys with many sharps was probably intended to achieve such an effect. This kind of visual effect is a technique known as tone painting, used in religious music by composers from Bach and Handel to Haydn before Chopin. It is plausible that Chopin was well-versed in these traditional compositional techniques found in the works of these “great composers.”

Example 3: A passage from the modulating section preceding B (C-sharp pedal point begins at measure 63)

After the chorale ends, the music suddenly transitions to a section reminiscent of a secular dance, the mazurka (Example 4).

Example 4: Mazurka-like section

In this section, which transitions from the heavenly to the earthly, the unison of both hands and the interplay of accompanying figures are striking. Technically, it is not easy to play, as one must hold the inner voices with a finger (thumb for the left hand, but middle or ring finger for the right hand!) while playing the accompanying chords staccato (of course, pianos of that era were not equipped with a sostenuto pedal). While repeating the same figure, the dynamics gradually decrease, and just when it seems to settle in D minor, the piece abruptly turns into a G minor chorale and immediately concludes. This short nocturne seems to conceal a grand drama.