Before 1831 he had composed a few of this Nocturnes, but they were not published until after Fredérik Chopin’s death, after his friend, Julian Fontana, ignored the solemn request to throw them into the fire, thereby, entering the catalog in the category of Posthumous Opus. Chopin composed the first 3 of his 21 nocturnes around 1831 and then were published two years later in Paris. He grouped these first 3 nocturnes in Opus 9.
How the Nocturnes were composed
When Chopin was twenty-two years old, he had the brilliant idea to create this wonderful and iconic work. For Jean Kleczynski, Chopin’s Nocturne 9 Op. N° 1 “exhibits a shocking sadness, together with a novel eloquence in its construction”, and that is a fact for sure, as the feelings expressed by its tones in the central section are the most commented, comparing it to the idea of the soul going under the weight of thoughts in the heat of a summer night. Nocturne in B flat minor is also a significant work, as it was composed when Chopin was just a young adult.
The Nocturnes of Opus 9 were only the first to be published and are dedicated to Mrs. Pleyel. It is understood that is the excellent pianist and wife of his friend, a talented piano maker and pianist, Camille Pleyel, the same who will send Chopin a pianino to Mallorca, so that Frédérik could eventually overcome the inclemencies of mood and climate during the unfortunate stay in Valldemossa, in the company of Sand and his children, during the winter of 1838 to 1839.
It was not the first time that Camille Pleyel gave Chopin a piano. Having arrived in Paris just a year before, Frédérik moved to his second residence in Paris, a two-story house at number 4 rue Cité Bergère. For the great hall (it’s just a figure of speech, it wasn’t really wide) the friend Pleyel contributed a great concert piano. And for the bedroom, a black piano. The two rooms communicate, so that if the talent of one of his students unleashed Frédérik’s enthusiasm, he could accompany him from the other piano.
Chopin’s Influences when work in his Nocturnes
The musical aesthetics of Chopin is framed within the romantic period and more specifically of piano music. Chopin’s dedication to the Music for piano was total and absolute. We do not know a single work Chopin’s done in piano in which the keyboard does not appear as a true language. Even in the songs, the piano takes on another role considerable amount that had hitherto been granted and of which we have only found precedents in Schubert’s Lieder. The structure of the night itself is something to highlight, because it is clearly is inspired by the arias of Italian and French operas. Chopin’s music is one of the starting points of writing piano of the second half of the XIX century and of the whole XX century. Without Chopin, the development of such musical works of the late nineteenth and early twentieth centuries would is just unimaginable.