Myra Hess plays Chopin’s Nocturne in F sharp major, op.15 no.2

One of the most perfect recordings of Chopin’s Nocturne in F sharp major, op.15 no.2 was made by Myra Hess (1890-1965) on 17 October 1933. It was duly released on the Columbia label (DB 1232) coupled with John Field’s equally bewitching Nocturne No. 4 in A major. Other piano works recorded on the same day included Edward MacDowell’s ‘AD MDCXX’ from his Sea Pieces, op.55 (1898) and Anton Dvorak’s Slavonic Dance op.46, no.1 (1878) as a duet with the legendary Hamilton Harty. (DB 1235). All four were included in a boxed set, The Columbia History of Music, Volume 4 (M234). 

My understanding is that this Nocturne is the only work by Chopin that Myra Hess commercially recorded. However, there are several “live” performances that thankfully have become available to the listener. It is interesting to look at the listings of music that Myra played during her legendary National Gallery Concerts. Here, compared to a multitude of Bach, Beethoven, Brahms and Mozart, there are only ten pieces by Chopin. (Lassimonne, 1966, p.109f).  

Nocturne in F sharp major, op.15 no.2, along with no.1 in F major were composed in 1830-1 whilst the Chopin was still living in Poland. The final number, op.15, no.3 was composed in Paris during1833.

The three Nocturnes, op.15 were published in 1834 by Maurice Schlesinger in Paris, and almost simultaneously by Breitkopf and Hartel in Leipzig. The set was dedicated to Ferdinand Hiller (1811-85). Hiller was a German pianist and composer, who had been a pupil of Johann Nepomuk Hummel. He settled in Paris between 1828 and 1835. Latterly he lived in Frankfurt, Leipzig and Dresden

Structurally, this Nocturne in F sharp major is ternary – A-B-A. The entire piece is written in 2/4 time. The key is six sharps throughout. It opens ‘larghetto’, with an elaborated melody over a steady quaver bass. The middle section is signed “doppio movementi” which means twice as fast as the preceding section. This complicated study in cross rhythms can be played smoothly, despite it being agitated and restless, and building to a restrained climax. There is some unusual piano figurations and a chromatic sequence of audacious modulations. This dies away as if fatigued. The opening material is repeated bringing the work to a calm, conclusion.

Chopin’s Nocturne takes its characteristic from its key. It is often said to “present a free sigh of relief uttered when hurdles are surmounted” or the “echo of a soul which has fiercely struggled and finally conquered, lies in all uses of this key.” Chopin music never rises to great passion. But this is no problem. What will impress the listener here is the fiorituri (operatic embellishment) and vocal effects of this piece. This may have been derived from Chopin’s admiration of composers such as Rossini, Donizetti and possibly, Bellini. It has been written that the fiorituri with which this melody is so lavishly bejewelled are not merely ornaments, they are an integral part of the melody, enriching it and strengthening its emotional power to a wonderful extent.” (Ashton Johnson, 1905, p.53)

Critically, the Nocturne in F sharp major is lyrically conceived and authoritatively carried out: it surpassed anything else Chopin had composed up to that time.

Strangely, Myra Hess’s recording of the Chopin and Field Nocturnes was not formally reviewed in The Gramophone. Mention is only made in passing, during a discussion about the The Columbia History of Music, Volume 4. (January 1934, p.321 and April 1936, p.130). The Daily Mirror (11 January 1934, p.20) reports the works of these “two idealist romantics” are both “exquisitely interpreted” by Myra Hess. The 1941 edition of A Guide to Recorded Music (p.101) suggests that “the Hess recording is very much better recorded, but the playing is a trifle pallid.”

Finally, both the piece itself and Myra Hess’s performance satisfies John Milton’s definition of art: simple, sensuous and passionate.”

The pianist’s 1933 recording of this Nocturne can be heard on Myra Hess - The Complete Solo and Concerto Studio Recordings APR Recordings 7504. This has been uploaded to YouTube.

Bibliography:
Ashton Johnson, G.C., A Handbook to Chopin’s Works, (New York, Doubleday, Page and Co., 1905)
ed. Lassimonne, Denise and Ferguson, Howard, Myra Hess by her Friends (London, Hamish Hamilton, 1966)
McKenna, Marian, Myra Hess: A Portrait (London, Hamish Hamilton, 1976).