The Nocturnes by Frédéric Chopin are some of the most beautiful and beloved pieces in the entire piano repertoire. Written between 1827 and 1846, Chopin took the form popularised by the Irish composer John Field, and elevated the genre with his signature style.
Portrait of Frédéric Chopin by Eugène Delacroix, 1838
In this wonderful musical genre, deeply lyrical voices, aided by developments in pedal technology and technique, are projected against a supporting accompaniment. As a scholar writes, “however immeasurably Chopin broadened the expressive purview of the genre from its origins in pleasant sociability, he never lost sight of its essential vocal qualities.”
What makes the Chopin Nocturnes special is the way they balance simplicity with depth. They are not flashy showpieces but instead draw the listener into a field of emotional intimacy. This remarkable collection of works is known for their lyrical beauty and subtle complexity, delicate phrasing and expressive nuances.
Let’s go ahead and explore the 10 most magnificent Nocturnes by Chopin, each offering a unique blend of elegance, introspection and refinement. And we have decided to feature a recent recording by the fabulous pianist Meng-Chieh Liu, whose profound understanding of the music and technical precision create unforgettable sonic experiences.
Nocturne in E-flat Major, Op. 9 No. 2
Frédéric Chopin’s Nocturne title page
Let’s get started with one of Chopin’s signature pieces, the E-flat Major Nocturne Op. 9, No. 2. It is a favourite among pianists and listeners because of its lyrical beauty that delightfully balances elegance and simplicity.
The Op. 9 set was among the first works Chopin published upon his arrival in Paris, and the famous E-flat was composed during his stay in Vienna. The set is dedicated to his pianist friend Marie Pleyel, and it offers everything that listeners love about the nocturne tradition.
A beautiful and singing melody is set over a simple and unchanging chordal accompaniment. Each repetition of the main thematic phrase gains interest by the use of ever more profuse ornaments, all culminating in a dramatic cadenza just before the end of the work. I think you will agree that this beloved lyrical gem is irresistibly enchanting.
Frédéric Chopin: Nocturne in E-flat Major, Op. 9, No. 2 (Meng-Chieh Liu, piano)
Nocturne in D-flat Major, Op. 27 No. 2
Thérèse d’Apponyi
The pair of Nocturnes Op. 27 date from 1836 when Chopin was living in Paris, and when he had just met the writer George Sand. The Op. 27 set is dedicated to the noblewoman Countess Thérèse d’Apponyi, and Chopin is hitting his stride as a composer by blending his Polish roots with the elegance of the Parisian salon.
The D-flat Major Nocturne is widely regarded as one of Chopin’s most polished and most emotional works, almost like a full-blown love letter to the piano.
The piece is a dreamy and flowing beauty, slow and sustained. It derives its tension from the gradual amassing of increasingly complex and dramatic ornaments, with the release coming through a dazzling little cadenza. The music then drifts back to calm with a hushed and magical coda that just melts away.
Frédéric Chopin: Nocturne in D-flat Major, Op. 27, No. 2 (Meng-Chieh Liu, piano)
Nocturne in F-sharp Major, Op. 15 No. 2
This spectacular nocturne is admired for its romantic, flowing quality and is often chosen for performances due to its subtle shifts between gentle lyrical moments and more intense passages.
The two numbers in this set basically disclose Chopin’s approach to the nocturne genre. In each work, lyrical outer sections enclose middle sections of contrasting character. A scholar writes, “although simple in concept, these three-part forms allowed Chopin to lend a more dramatic cast to the genre, and this is what sets Chopin’s efforts apart from his predecessors and contemporaries.”
It all starts with a lilting melody in the right hand supported by a simple rolling left-hand accompaniment. While the opening section is calm and songlike, the central section becomes restless and a bit tense. However, the opening comes back smoother than ever, and it all wraps up with a delicate and fading ending.
Frédéric Chopin: Nocturne in F-sharp Major, Op. 15, No. 2 (Meng-Chieh Liu, piano)
Nocturne in B Major, Op. 62 No. 1
Frédéric Chopin’s Nocturne Op. 62
The magnificent nocturnes of Op. 62 were written in 1846, towards the end of Chopin’s life, and during a time when he was in poor health. These two beautiful and emotional pieces once again show the composer’s mastery of melody, harmony, and lyrical expression.
A scholar wrote that the nocturnes of Op. 62 articulate miniature dramas. Different musical voices compete for our attention and sometimes appear suddenly with fancy decorations. And you can certainly hear the counterpoint in the opening of the B-Major work.
In the middle part, there is an uncomfortable feeling of calm, which then leads into a shortened version of the main theme, decorated with trills and flourishes, ending with a cadenza. This magnificent nocturne is rich, refined, and bursting with emotional depth. It is a quiet masterpiece, complex and introspective.
Frédéric Chopin: Nocturne in B Major, Op.62 No. 1 (Meng-Chieh Liu, piano)
Nocturne in C Minor, Op. 48 No. 1
Frédéric Chopin, 1849
The set of Nocturnes Op. 48 dates from 1841 and represent a turning point in Chopin’s life and work. He was only 31 and at the height of his fame as a composer and performer, but his health was starting to falter with a mysterious illness.
Op. 48 represents a mature composer, as the youthful flourishes of his earlier works are replaced by a darker and more profound voice. The dramatic C-minor nocturne shows a composer who is pushing the nocturne form into something grand and more introspective.
The C-minor nocturne opens with a solemn march that gives way to a chorus-like middle section. It’s brooding and very intense, like a storm brewing over a quiet sea. And specifically the middle section feels like a cry of defiance and despair. This is one of Chopin’s most tragic and epic pieces.
Frédéric Chopin: Nocturne in C minor, Op. 48 No. 1 (Meng-Chieh Liu, piano)
Nocturne in B Major, Op. 32 No. 1
In his set of Op. 32, Chopin explores new means of expression within the genre. It all starts as expected, but the beautiful opening theme suddenly breaks off over prolonged rests. The cadences are speeding up and the beautiful opening never returns.
Instead, after the return of one of the hurried cadential patterns Chopin presents a dramatic instrumental recitative. Scholars suggest that Chopin wants us to imagine a more complex form of vocality, pointing specifically to opera.
It is mostly serene and lyrical, but the dramatic twists can catch us off guard. Maybe not as famous as some of his hits, it is a magnificent hidden gem that stands out in his nocturne compositions. It is not just pretty, but has this quiet and mysterious edge to it.
Frédéric Chopin: Nocturne in B Major, Op. 32 No. 1 (Meng-Chieh Liu, piano)
Nocturne in F minor, Op. 55, No. 1
Chopin on His Deathbed, by Kwiatkowski, 1849, commissioned by Jane Stirling
Composed in 1843, the nocturnes of Op. 55 were written in a more introspective phase of his career. The set is dedicated to his student Jane Stirling, and it reflects a shift in his style. It’s less about dazzling virtuosity and more about depth and subtlety.
The F-minor nocturne, in particular, carries a melancholic and almost fragile beauty, composed by a man who already knew that his time on earth was running short.
The gentle, mournful melody in the right hand is accompanied by a simple left-hand pattern. Lyrical and delicate, it sounds of longing in the minor key. The central section introduces a more intricate and hopeful theme before the music returns to the subdued opening. The piece ends softly, with a coda that accelerates towards its conclusion through a series of ornaments.
Frédéric Chopin: Nocturne in F minor, Op. 55 No. 1 (Meng-Chieh Liu, piano)
Nocturne in B-flat Minor, Op. 9 No. 1
Frédéric Chopin’s Nocturne Op. 9 No. 1
Chopin’s first set of nocturnes arrived at a pivotal time in his life. Forced to leave his homeland after the failed November Uprising, he settled in Paris, torn between homesickness and ambition.
The young composer is already flexing his creative genius by blending the lyrical style of Italian opera with his own poetic flair. Op. 9, No. 1 is a quiet and soulful opener, setting the stage for his lifelong love affair with the nocturne form.
Calm and introspective, the left hand creates a gentle, swaying pattern, while the right hand introduces a simple yet expressive melody embellished with trills and decorative flourishes. The dreamy, somewhat melancholy opening is contrasted by a brighter section in the major key before the piece returns to the opening theme and simply fades away. Its understated beauty, without any excess, evokes a sense of quiet reflection.
Frédéric Chopin: Nocturne in B-flat minor, Op. 9 No. 1 (Meng-Chieh Liu, piano)
Nocturne in E minor, Op. 72 No. 1
The Nocturne in E minor, published posthumously as Op. 72 No. 1 is probably Chopin’s earliest work in the genre. Probably composed in Warsaw in 1827, Chopin was studying at the conservatory and dreaming of making it big in Paris.
The reason I particularly like this piece is because it offers a glimpse into the mind of a 17-year-old buddying genius. This nocturne flows gently and features a soft and melancholic melody in the right hand, drifting over a simple left hand pulse that feels like a quiet heartbeat.
While the opening section is full of tenderness and features a somewhat gloomy tune in E minor, the central section shifts to a much brighter G major. The music becomes more energetic and hopeful, before it eases back to the opening theme, now sounding softer and sadder. It all ends in a whisper of pure and youthful charm. What a touching sigh from a teenager already wrestling with big emotions.
Frédéric Chopin: Nocturne in E minor, Op. 72, No. 1 (Meng-Chieh Liu, piano)
Nocturne in G Major, Op. 37 No. 2
George Sand
In his late twenties, Chopin was deeply involved with George Sand and they split their time between the bustling city and her peaceful Nohant estate. During a stormy trip to Majorca, however, the composer was battling illness in a damp monastery. The Op. 37 set lacks a dedication, and feels like the products of that reflective time.
No. 2 stands out as the sunnier sibling, as it is an almost carefree piece. It opens with a cheerful and skipping melody that evokes the feel of a boat gently swaying on water. This opening section is set in a bright and playful major key, with little ornamental ripples that feel entirely effortless.
The central section dips into a slightly moodier minor key, adding a hint of depth with a more intricate melody. Once the opening returns, it takes on an even lighter and more delicate character. It all wraps up with a soft and twinkling finish, a fleeting moment of joy that feels like a refreshing breath of air in Chopin’s often soulful catalogue.
Frédéric Chopin: Nocturne in G Major, Op. 37, No. 2 (Meng-Chieh Liu, piano)
Afterglow
In my personal selection of the 10 most magnificent Nocturnes by Frédéric Chopin we have travelled from the misty melancholy of his early Polish days to the refined brilliance of his Parisian peak. These uplifting pieces all feature singing melodies, shimmering ornaments, and heart-stirring contrasts.
Each one is a miniature universe of longing, joy, and quiet wonder. They are not simply magnificent pieces of music but whispers of eternity. Chopin’s piano becomes a beacon of light, guiding us through the shadows of the night and into moments of pure uplifting beauty.
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Frédéric Chopin: Nocturne in C-sharp minor, Op. posth. (Meng-Chieh Liu, piano)
