(Nocturne) (Frederic Chopin) 1 (John Field) (William Grattan Flood) 3 (Eric Blom) 4 2 1 John Field: Inventor of the Nocturne 2 William G. Flood, Lester Ltd., 1920). John Field: Inventor of the Nocturne. ( Dublin: Martin 3 William G. Flood, x. 4 His is the tragedy, in short, of all minor precursors who, having done their piloting for the captains of the art, are forgotten by the public and consigned to the dull society of historian. Eric Blom, John Field The Chesterian vol.xi (June, 1930), 201. 2
Petersburg) 5 (M. Scholastica Benitez) (Heinrich Dessauer) John Field, sein Leben und 6 seine Werke (St. 386. 5 Nicholas Temperley, John Field s life and music Musical Times (1974), 6 M. Scholastica Benitez, The Nocturnes of John Field. (M.A.diss., Catholic University of America, 1957), 2. 3
(Edward Dannreuther) (Ernest Walker) (Henry Davey) (Alexander Nikolayev) 7 (Patrick Piggott) 8 1782-1837 (David 9 Branson) 10 7 Alexander Nikolayev, John Field, Translated by Harold M. Cardello. (New York: Musical Scope Publishers, 1973). 8 Patrick Piggott, The Life and Music of John Field, 1782-1837: Creator of the Nocturne. (London: Faber and Faber, 1973). 1972). 9 David Branson, John Field and Chopin. (London: Barrie & Jenkins, 10 M. Scholastica Benitez, The Nocturnes of John Field. (M.A. diss., Catholic 4
(Nicholas 11 Temperley) 12 13 (G. Schirmer) Louis Koehler Edition Peters University of America, 1957). 11 Nicholas Temperley, John Field and the First Nocturne, Music and Letter (1975), 335-340. 12 Patrick Piggott, John Field and the Nocturne, Proceedings of the Royal Musical Association (1968-9), 55-65. 13 Franz Liszt, On John Field s Nocturnes, Translated by Theodore Baker (Leipzig: Schuberth, 1859). 5
(Muzio Clementi) 6
7
8
Nocturne Notturno 14 Nox Nocturn O ffice of Matins Nocturn Nocturn psalm antiphone 15 responsory (Jousse) 16 (Compendious Dictionary of Italian and Other Terms used in Music) 14 Nocturne( ) Notturno( ) Nocturne 15 The New Grove Dictionary of Music and Musicians. (1980), S.v. Nocturnes, by Mary Berry, 260. 16 9
Notturno 17 ( (Carl Czerny) (Notturno) 17 Piece of music destined to be performed at night as a serenade. The vocal nocturne is written for 2, 3 or 4 voices, and is sometimes arranged in such a manner that it can be performed without accompaniment. The name nocturne is also given to certain operatic pieces which have the character of a nocturne and are sung in a nocturnal scene. Nocturne is also an instrumental piece written for harp and horn, oboe and piano. These nocturnes, properly speaking, are only Notturno, a name formerly given to pieces played in the evening: now the term is applied to a divertimento. Daved Rowland, The Nocturne: Development of a New Style Chopin. (New York: Cambridge University Press, 1992), 35. 18 A graceful and sweet melody, tender and mysterious, simple phrases, harmony that is not elaborate, but full, mellow, and without triviality; these are the qualities that should be encountered in the nocturne. 19 The Notturno for the Pianoforte is really an imitation of those vocal pieces which are termed Serenades, and the peculiar object of such works that of being performed at night, before the dwelling of an esteemed individual must always exercise an influence upon its character. The notturno, therefore, must be calculated to create an impression of a soft, fanciful, gracefully - romantic, or even passionate kind, but never of a harsh or strange. The construction of it is nearly that of a short Andante in a Sonata, or of an extended theme; and a slow degree of movement is most suitable to the same. 10
(Maurice J. Brown) Nocturne 20 Notturno (Franz Joseph Haydn) (Notturno) (hurdy- gurdies) (Wolfgang Amadeus Mozart) Serenata notturna K.239 Notturno K269a 21 (Serenade) (Divertimento) Notturno (Haffner Serenade) 22 20 A piece suggesting night, usually quiet and meditative in character, but not invariably so. The New Grove Dictionary of Music and Musicians. (1980), S.v. Nocturne, by Maurice J. Brown, 258. 21 The New Grove Dictionary of Music and Musician. (1980), S.v. Notturno by Hubert Unverricht, 431. 22 Peray A. Scholes, ed., Serenade, The Oxford Companion to Music. (London: Oxford University Press, 1970), 943. 11
23 Nocturne (Romances) (Serenade) (Pastoral) Premier Nocturne 24 (Peters) Notturno Nicholas Temperley Nocturne Notturno Jan Ladislav Dussek Notturno Concertante (Horn) 25 23 Don Michael Randel, ed., Divertimento, The New Harvard Dictionary of Music. (Cambridge: The belknap Press of Harvard University Press, 1986), 235. 24 (Dalmas) 25 12
26 cantilena style (sustaining pedal) (Alberti bass) (Harpsichord) (Clavichord) 26 27 David Rowland, 34-36. 13
14
(French Revolution) (Napolen Buonaparte) (Louis XV) (Louis XVI) 28 29 30 28 29 (Joseph R. Strayer Hans W. Gatzke) ( The Mainstraeam of Civilization Since 1500) 436 30 438 15
31 (French Grand Empire) 32 (Congress of Vienna) 31 8 II 166 32 217-218 16
33 33 489 17
(Gerald Abraham) Venice Amsterdam Lisbon Berlin Paris Vienna 35 Johann Baptist Cramer 36 Michael Kelly 34 37 34 35 Gerald Abraham, The New Oxford History of Music Vol. VIII The Age of Beethoven 1790-1830. (London: Oxford University Press, 1982), 2. 36 13 37 Leon Plantinga, Romantic Music: A History of Musical Style in Nineteenth-Century Europe. (New York: Norton, 1984), 10. 18
38 (The New Oxford History of Music Vol. VIII The Age of Beethoven 1790-1830) C 39 38 Dr. Sadie has pointed out that in the eighteenth century solo recitals and chamber concerts were unknown. In the early nineteenth century, purely orchestral concerts were unknown also: all concerts were mixed Nicholas Temperley, Domestic Music in England, PRMA 1959, 33. 39 All over Europe, the length of concert programmes, which had been steadily growing before the Revolution, now reached gargantuan dimensions. Even to audiences gifted with heroic powers of endurance the average concert must have been something of an ordeal. Blessed was the interval separating the two parts, each of which often lasted 115 minutes and seldom less than 90. A classic occasion was a concert given by Beethoven in the Theater an der Wien on 22 December 1808, entirely of his own works: the Fifth and Sixth Symphonies, the Choral Fantasia, the Fourth Piano Concerto, two movements from the Mass in C, the aria Ah! Perfido, and an extempore fantasia on the pianoforte. Gerald Abraham, 18. 19
20
40 41 Bartolomeo Cristofori 40 John Gillespie, Five Centuries of Keyboard Music: A History Survey of Music for Harpsichord and Piano. (New York: Dover Publications, 1972), 197. 41 Leon Plantinga, 91. 21
(Ludwig van Beethoven) Sébastien Erard 42 (Damper) (hand stops) knee levers (Damper pedal) (Sustaining pedal) 43 42 Robert Palmieri ed., Encyclopedia of the Piano. (New York: Garland Publishing, Inc., 1996), 284-285. 43 93 22
(The London Pianoforte) 44 1800-1860 Domestic Music in England 1800-1860 45 (English Piano) 44 K. Marie Stolba, The Development of Western Music: A History. ( Dubuque: Wm. C. Brown Publishers), 536. 45 In considering the instrumental domestic music written by English composers, the most striking distinction is not between solo and ensemble music but between works with the piano and works without it. At the beginning of the nineteenth century, as in the eighteenth, there was little difference between the piano sonata, the sonata-duo for piano and violin, and the piano trio. Piano sonatas we re often published with additional accompaniments ad libitum for violin, cello, or other instruments; and in so-called piano-trios, the piano part was equally self-sufficient, and the other instruments were given mere filling- in material or doublings of the piano part. Chamber music without the piano was never a widely popular medium, and the number of published works in it was quite small. Probably the performance in the home of works of this type was mainly restricted to wealthy amateurs. Nicholas Temperley, Domestic Music in England 1800-1860, PRMA(1959), 35. 23
(Viennese Piano) 46 (Hilda Andrews) Side-light of Music History John Field: Pianist -Composer, the Herald of Chopin and Liszt 47 (character piece) 46 Plantinga, 9-10. 47 The academic school followed Mozart, and the old harpsichord manner, or iginated by Domenico Scarlatti, with its light, crisp legato, its clarity and sweetness, kept Mozart for a faithful adherent to the end. The Viennese set who followed him stiffened into a hard academicism. Among pianists, Czerny, Steibelt and Hummel fall into this group. The English school of Clementi, enthusiastic over the new instrument, flowered at once into the romantic period. Among pianists, Clementi, Field, Dussek, Chopin belong to this group; later Thalberg and Liszt. M Scholastica Benitez, The Nocturnes of John Field. (M.A. diss., Catholic University of America, 1957), 4. 24
25
(Dublin) (Robert Field) (Tommaso Giordani) (Dublin Evening Post) 48 49 50 48 was really an astonishing performance by such a child, and had a precision and execution far beyond what could have been expected. The New Grove Dictionary of Music and Musician. (1980), S.v. John Field by Nicholas Temperley, 534. 49 (Haymarket Theatre) 50 William G. Flood, John Field: Inventor of the Nocturne. (Dublin: Martin Lester Ltd., 1920), 6. 26
(Haymarket Theatre) 51 (Philharmonic Hall) 51 Patrick Piggott, The Life and Music of John Field 1782-1837: Creator of the Nocturne. (London: Faber and Faber, 1973), 26-7. 27
52 (Moscow) (Philharmonic Society) E (Haydn Centenary Concert) (Ignaz Moscheles) 53 (the Rachmanoffs) 55 54 52 Nicolas Temperley, ed., The London Pianoforte School 1766-1860. New York: Garland,1985,xiii.. 53 his enchanting legato, his tenderness and elegance and his beautiful touch David Branson, John Field and Chopin. (London: Barrie & Jenkins, 1972), 8. 54 55 Patrick Piggott, The Life and Music of John Field 1782-1837: Creator of the Nocturne, 98. 28
56 (Joseph d Ortigue) 57 56 His almost immovable attitude and but slightly expressive face attracted no attention. His eye sought no other eye. His execution flower clear and limpid His tranquillity was wellnigh somnolent, and the impression that might be made on his hearers was his least care. No abruptness, no shock, either in gesture or rhythm, ever supervened to interrupt his melodious revery, whose fondly murmurous melodies, mezza voce, spread through the air on delicious waves the most suave impressions, the most charming surprises of the heart! M.Scholastica Benitez, The Nocturnes of John Field. (M.A. diss., Catholic University of America, 1957), 20. 57 Joseph d Ortique, Balcon de L Opera (Paris, 1883). 29
58 58 Field is Field a school of his own. His is a native and original talent. His playing is a sheer delight exquisitely spirituelle, coupled with surprising aplomb and coquetry.at first one imagines that his playing is a little ponderous, then gradually it becomes animated, delicate, and inconceivably neat, amid the most intricate mazes. In his case the style is the man. His music is the music of the fairies. William G. Flood, John Field: Inventor of the Nocturne. (Dublin: Martin Lester Ltd., 1920), 17-18. 30
(Johann Christian 59 Bach) 60 59 Alexander Nikolayev, John Field. Translated by Harold M. Cardello. (New York: Musical Scope Publishers, 1793), 60. 60 31
(Dalmas) (Clementi&Co.) (Kühnel) (Breitkopf and Härtel) (Ricordi) (Richault) 61 62 61 Nicholas Temperley ed., The London Pianoforte School 1766-1860: Clementi, Dussek, Cogan Cramer, Field, Pinto, Sternale Bennett, and Other Masters of Pianoforte. Vol. 12 (New York: Garland, 1985), xiii. 62 Nicholas Temperley, John Field and the First Nocturnes, Music and Letter (1975), 335. 32
(Romances) (Pastoral) (Serenade) (Trois Romances) 63 64 63 Nicholas Temperley, John Field and the First Nocturnes, Music and Letter (1975), 337. 64 Trevor Davies Hibbard, The slow Movement of the Sonatas of John Field, Music Review(1961), 90-91. 33
65 (Louis Koehler) (John H. Hind) Dalmas Editions (University of California at Berkeley) (Premier Nocturne pour le Pianoforte) (Mademoiselle de Danaouroff) 66 E C A (Trois 65 Franz, Liszt. On John Field s Nocturnes. Translated by Theodore Baker. (Leipzig: Schuberth, 1859), ii. 66 N. Temperley, 336. 34
Nocturnes) 67 E 68 C A B 69 70 (Senff) 2-1 2-2 67 N. Temperley, 337. 68 (Divertissement) 69 70 (Ignaz Friedman) (Universal) (Hamilton Harty) John Field Suite 71 Patrick Piggott, The Life and Music of John Field 1782-1837: Creator of the Nocturne. (London: Faber and Faber), 125. 35
2-1 B 72 2-2 B 23-26 B 2-3 2-4 72 Patrick Piggott, The Li fe and Music of John Field 1782-1837: Creator of the Nocturne, 125. 36
73 2-3 B 2-4 B 37-38 2-5 73 P. Piggott, 125. 37
74 75 2-5 A (Divertissement) 76 (Collard) A 74 75 76 P. Piggott, 127. P. Piggott, 127. P. Piggott, 129. 38
77 2-6 2-7 3232 2-8 79 2-6 E 78 77 78 79 P. Piggott, 129-130. 131 P. Piggott, 131. 39
2-7 E 25-26 2-8 E 24-25 E (Schlesinger) 80 (Mori & Lavenu) G 81 80 81 P. Piggott, 134. 40
D C G 82 C C (Allergo) 2-9 2-10 Molto Moderato 2-11 A 2-12 2-13 83 82 83 P. Piggott, 138-140. 141 41
84 2-9 C 2-10 1-8 2-11 C 1-4 84 P. Piggott, 140. 42
2-12 C 33-34 2-13 A 67-68 F C C 85 (Princess Galitzina) E Grande Pastorale (I.Rheinhardt) 85 43
(Nocturne Pastoral) 86 E (Le Midi) Premier Divertissement (Midi-Nocturne Characteristique) (Noontide) 87 86 P. Piggott, 142. 87 F. Liszt, iii. 44
88 (Alphonse Marmontel) 89 (Alexande Dubuque) 88 Stewart Gordon, A History of Keyboard Literature: Music for the Piano and Its Forerunners. (New York: Schirmer), 207. 89 By his expressive touch and extreme delicacy Field obtained sonorities of exquisite colour. His lightness in rapid passages was incomparable; singing phrases took on, under his fingers, a sweet and tender feeling that few virtuosi were able to achieve. Th e New Grove Dictionary of Music and Musicians. (1980), S.v. John Field, by Nicholas Temperley, 536. 90 As a musician he was unique, I have heard many good pianists of my century but none of them played with such deep understanding, such emotion, and 45
91 in such a wonderfully accomplished way as Field...Much as I liked some of Field s compositions the chief beauty lay in his playing his touch on the keys the way his melodies sang-the easy, heavenly floating of his scales and passages the nobility of the interpretation: all this the typically Field - ish way to play no words can describe. Patrick Piggott, The Life and Music of John Field 1782-1837: Creator of the Nocturne, 102-103. 91 The New Grove Dictionary of Music and Musicians. (1980), S.v. John Field, by Nicholas Temperley, 537. 46
(song form) 92 (John Fillmore) Pianoforte Music, 1883 93 94 92 Leon Stein Structure and Style: The Study and Analysis of Musical Forms 93 the sentiment first and the form second. M. Scholastica Benitez, The Nocturnes of John Field. (M.A. diss., Catholic University of America, 1957), 34. 94 His for m is perfectly adapted to his conceptions, which do not belong to a class of temporary, transient sentiments, called into being by the influence of his environment at the time, but are pure emotion. Franz Liszt, On John Field s Nocturnes. ( Leipzig: Schuberth, 1859), i. 47
ABA A (Shirmer) A 48
E ABA- coda 12/8 C ABAC- coda 3/8 A ABACA- coda 6/8 A ABCDAB- coda 4/4 B ABAB- codetta 12/8 F ABACA- coda 6/8 C ABACACAB- coda 3/4 A Intro.(ABA)- CDC 6/8 E AB- coda 6/8 E ABA- coda 12/8 E Intro.- ABACA- coda 12/8 G AB- codetta 6/8 D AB- codetta 3/4 C Intro.- ABA- coda 4/4 C ABA 4/4 F AB- coda 3/4 E Intro.- ABA- coda 6/8 E ABACA- coda 2/4 49
(homophonic music) E B 2-14 2-15 2-14 E 1-4 2-15 B 1-4 (pedal point) A A 50
2-16 E 2-17 2-16 A 1-3 2-17 E 1-3 G ( 2-18 ) 96 95 95 Eric Blom, John Field The Chesterian (July-August, 1930), 238. 96 Patrick Piggott, The Life and Music of John Field 1782-1837: Creator of the Nocturne, 135. 51
2-18 G 1-2 E 2-19 C 2-20 2-19 E 1-4 2-20 C 36-39 52
C 2-21 A C 2-22 2-23 2-21 C 13-17 2-22 A 50-52 2-23 C 1-4 53
C 2-24 2-25 2-24 C 1-5 2-25 C 11-14 54
97 2-26 2-27 2-26 E 15-19 2-27 D 1-4 97 M. S. Benitez, 41. 55
F 2-28 2-29 A B 2-28 F 1-4 2-29 F 42-46 56
E 2-30 98 E E 2-30 E (a) 1-8 (b) 43-49 98 Patrick Piggott, The Life and Music of John Field 1782-1837: Creator of the Nocturne, 117. 57
A 2-31(a) 2-31(b) 2-31 A (a) 17-20 (b) 25-28 58
E A 2-32 2-33 2-34 2-32 A 19-20 2-33 F 25-27 2-34 E 47-50 59
2-35 2-35 C 75-80 2-36 2-37 2-36 C 65-68 2-37 C 45-49 60
/ / / / F 2-38 A 2-39 2-38 F 57-59 2-39 A 30-32 61
62 60 2-37
I V I C E E A F C E D A E (Allegretto) Piú moderato E B 2-40 A 25-32 63
C C E E A F G E 64
E B C 99 E 101 moonlight Sonata 102 (Bagatelle) 100 99 100 Franz Liszt, iii. 101 Eric Blom, 239. 102 E. Blom, 239. 65
66
103 104 O 103 William G. Flood, John Field: Inventor of the Nocturne. (Dublin: Martin Lester Ltd., 1920), x. 104 William G. Flood, John Field: Inventor of the Nocturne. (Dublin: Martin Lester Ltd., 1920). 67
105 (Eduard Wolff) 106 (Robert Schumann) 107 (Neue Zeitschrift 9. 105 David Branson, John Field and Chopin. (London: Barrie & Jenkins, 1972), 106 No speed, no elegance, in capable of executing difficulties: in a word, feeble. Patrick Piggott, The Life and Music of John Field 1782-1837: Creator of the Nocturne. (London: Faber & Faber, 1973), 76. 107 in terms of highest eulogy almost bordering on extravagance. 68
für Musik) (John Field: Nocturne Pastoral, Nouvelle Fantasie, 1835) 108 M. Scholastica Benitez, The Nocturnes of John Field. (M.A.diss., Catholic University of America, 1957), 49. 108 If I were allowed to do so, I would put on his head a crown of poppies and violets because he is the beloved one of nightfall, when the sun has set and the eternal nostalgia of the soul awakes... touch only one chord of the universe and it will vibrate indefinitely. This minute must be charming when you become conscious of the fact that you are touching for the first time someone whom you may call entirely your property, where you feel yourself as the first creature who embraces you fervently and carries your name. How happy must he have been over his first Nocturne because it was entirely his and nobody before him had said something similar. M. Scholastica Benitez, The Nocturnes of John Field, 49. 69
(Charles L. Capon) (Famous Composers and Their Works, 1891) 110 111 (H. Parent) (Repertoire Encyclopedique du Pianiste) 112 109 The charm which I have always found in these pieces, with their wealth of melody and refinement of harmony, goes back to the years of my earliest childhood...in it distinction of style rivals of grace of sentiment, and it is instinct with so rare a delicacy of ornamentation, and so exquisite an art in modulation of the thought, that it seems as if the composer could find nothing noble, nothing choice, nothing irreproachable enough while writing these chaste lines. Franz Liszt, On John Field s Nocturnes, Translated by Theodore Baker. (Leipzig: Schuberth, 1859), iii. 110 In the Field nocturne appeared a new element which was destined to work as unique an innovation as can be cited in the history of pianoforte music. David Branson, John Field and Chopin. (London: Barrie & Jenkins, 1972), 20. 111 D. Branson, 20. 112 Field s great distinction in the musical world is to have created a genre the little pieces to which he has given the name of Nocturnes. William G. Flood, John Field: Inventor of the Nocturne. (Dublin: Martin Lester Ltd., 1920), 23. 70
(Ernest Walker) (History of Music in England) 113 (Eric Blom) 114 (Ernest Hutcheson) Literature of the Piano, 1948 113 These slender piano pieces are indeed curiously original for their date. It is easy to see their deep influence on the nocturne of Chopin, as regards the types of melody, and also, especially, the methods of writing for the instrument... The best of these exquisitely polished little miniatures, with their delicate melodies and theis shy, fugitive gracefulness, will long serve to keep his name fragrant. 24 114 In the Nocturnes, however, Field is unique. If we neglect them, as too many pianists do, there is nothing else to take their place, not even Chopin s similarly named pieces. Here he sings his heart out, and it is because he has learnt to sing that he becomes so entirely himself. Not that he is a great melodist in the sense that his tunes are original, for they rarely have a personal distinction. Eric Blom, John Field The Chesterian (1930), 238. 71
Gordon Stewart A History of Keyboard Literature: Music for the Piano and its Forerunners 115 His Nocturnes have withstood the wear of time surprisingly well. No doubt Chopin s high estimation of them and adoption of the title for some of his own most beautiful creations have perpetuated their fame. Liszt too, edited them with a laudatory preface. M. Scholastica Benitez, The Nocturnes of John Field. (M.A.diss., Catholic University of America, 1957), 55. 116 Field s Nocturne, taken as a whole, must be considered a less important corpus of work than those of Chopin, but it would be wrong to regard them merely as a preparation for future developments. Though Chopin raised the Nocturne to artistic heights beyond the reach of its originator, this does not diminish the importance of Field s achievement. Patrick Piggott, John Field and the Nocturne Proceedings of the Royal Musical Association (1968-9),65. 117 Field was influential in establishing a new aesthetic in piano playing, one that eschewed bombast and display in favor of tenderness and intimacy. The search for a type of character piece that featured this style resulted in his creating the nocturne, a title he settled on after experimenting with several other names. 72
Field s first nocturne was published in 1812, almost two decades before Chopin used the title. Field s nocturnes clearly establish the mood and texture associated with the genre. Stewart Gordon, A History of Keyboard Literature: Music the Piano its Forerunners. (New York: Schirmer, 1996), 207-208. 73
David Ewen Hilda Andrew 119 118 Chopin s enchanting chromaticism, Chopin s full and warm romantic singing, Chopin s remarkable elasticity of form can all be found in John Field s piano music. M. Scholastica Benitez, The Nocturnes of John Field. (M.A.diss., Catholic University of America, 1957), 57. 119 All the qualities of free grace and beauty that so many people attribute to the genius of Chopin are to be found in Field s work. Chopin s pianistic effects or pedal subtleties, of spread harmonies, melodic ornamentation and chromaticism were in the nocturnes of Field, that form a model for Chopin. S. M. Benitez, 57. 74
E B E I 3-1a E B I 3-1b 3-1 a. E 64-66 b. E 32-34 75
B A 3-2a B pp delicatiss. 3-2b 3-2 a. B 36 b. B 16 A 3-3 B B D E 76
3-3 A 19-20 F 3-4a 3-4b E 3-4c E E 3-5a b 3-5c d 3-4 a. F 1-2 77
b. F 9-10 c. E 4 3-5 a. E 51-52 b. E 5 c. B 45 78
d. D 15 A A b - E b - D- E b -F- E b B b - E b - D- E b -F- E b 3-6a E Op.10, No.11 G- D-C- D- E b - D A b - D-C- D- E b - D 3-6b A 120 3-6 a. A 1-2 120 D. Branson, 39 ; M. S. Benitez, 60. 79
b. E 1-2 E 3-7a E 3-7b E G 121 3-7 a E 1-4 121 D. Branson, 33. 80
b E 1-2 C 3-8a 3-8b 3-8 a. C 1-3 b. 1-3 81
B A A 3-9a B 3-9b 3-9 a. B 1-2 A 3-4 b. B 18-19 A 27-28 82
83
122 Notturno 122 The New Grove Dictionary of Music and Musicians. 1980, S.v. Nocturne, by Maurice J.E. Brown, 258. 84
85
86
(Gabriel Fauré) (Erik Satie) (Francis Poulenc) 123 M. Ivanovich Glinka - Nikolay Rimsky- Korsakov Alexander Scriabin Edvard Grieg 124 Paul Hindemith Bela Bartók (Claude Debussy) Vaughan Williams A London Symphony 123 The New Grove Dictionary of Music and Musicians. 1980, S.v. Nocturne, by Maurice J.E. Brown, 258. 124 M. S. Benitez,77. 87
125 (virtuosos) 125 M. S. Benitez, 71. 88