Why Is Chopin Considered The Inventor Of Nocturne?

Fryderyk Franciszek Chopin (1810-1849) was born in Warsaw, Poland during the era of Romantic music. Although John Field was already an established composer during that time and is widely considered the inventor of the nocturne, Chopin was the one who popularised the genre, his most famous nocturne being his nocturne in E-flat major, Op. 9 No.2, composed between 1830 and 1832, the same time as his nocturne in B-flat major. This nocturne starts off unusually with an unaccompanied melody. The starting melody plays a major part in the piece’s opening theme and is further developed throughout the piece with arpeggios and scalar flourishes. The middle segment of the piece is punctuated with octaves in the right hand with the range between the left

When he was only 18 years old, he had already composed his first piano sonata. A few years later, during his first visit to Mannheim, he composed Piano Sonata in D major, his ninth sonata. The sonata’s first movement starts with an exuberant melody that lasts for several lines before proceeding to a string of semiquavers. The segment ends off with four strong chords, before moving to the second theme. A brief section of the second theme is repeated in a minor key before the movement gradually returns to the lively original melody and ends. The second movement, a gentle Andante in G major, begins slowly and softly with the exception of three repeated chords played first in forte, then in piano which provide contrast to the melody. Gradually, the bass advances with a moving ostinato into the second theme. The main melody is repeated before ending off by returning to the original key. The third movement is a rondo and re-establishes the energy and vigour of the first movement. The melody starts with an acciaccatura, an ornament that is repeated throughout the movement, before continuing with a semiquaver passage that begins the second theme. The main theme is repeated and enters a minor section. A brisk chromatic scale brings the movement back to the major key and concludes the