There is a surprising climax
followed by sunshine and favor in the D flat part, then after
mounting dissonances a bold succession of octaves returns to the
feverish plaint of the opening. Kullak speaks of a resemblance to
Meyerbeer's song, Le Moine. The composition reaches exalted
states. Its psychological tension is so great at times as to
border on a pathological condition. There is unhealthy power in
this nocturne, which is seldom interpreted with sinister
subtlety. Henry T. Finck rightfully thinks it "embodies a greater
variety of emotion and more genuine dramatic spirit on four pages
than many operas on four hundred."
The companion picture in D flat, op. 27, No. 2, has, as
Karasowski writes, "a profusion of delicate fioriture." It really
contains but one subject, and is a song of the sweet summer of
two souls, for there is obvious meaning in the duality of voices.
Often heard in the concert room, this nocturne gives us a surfeit
of sixths and thirds of elaborate ornamentation and monotone of
mood. Yet it is a lovely, imploring melody, and harmonically most
interesting.
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