Myra Hess plays John Field’s Nocturne No. 4 in A major.

My post on 10 April, considered Myra Hess’s near perfect recording of Chopin’s Nocturne in C sharp minor, op.15, no.2. This was released on a 78rpm record during 1933 (DB 1232). On the same disc, Columbia included John Field’s Nocturne no. 4 in A major. It was an apt choice, as this composer is often cited as being the Father of the Nocturne. 

Edward Sackville-West and Desmond Shawe-Taylor (1955, p.270f) give a wonderfully succinct précis of John Field: “This odd and somewhat pathetic Irishman was the victim of a father, who, perceiving the boy’s amazing talent for the piano, drove him unmercifully, eventually apprenticing him to Clementi. This composer-manufacturer gave lessons to the gangling half-starved youth and made use of him to show off his pianos to prospective clients. Later, but still under the auspices of Clementi, Field made a European reputation as a virtuoso. He settled in St Petersburg, where he wrote a quantity of music, including seven piano concertos. Some of these (notably those in E flat and A flat) contain passages of eloquent beauty; but they are too long-winded and conventional to hold the attention of an audience today. If tactfully edited, they would be well worth an occasional performance. The Nocturnes, on the other hand, apart from their fame as a serious influence upon Chopin, have retained the affection of pianists who specialize in Romantic music. Simple and brief, they unite the melodic style of Italian opera with a delicate yet effective pianism.”

Some other details may be of interest. John Field was born in Dublin on 26 July 1782. Despite a successful career as noted above, his health and wealth were depleted due to his dissipated life-style. Following a major tour of the European capitals between 1832 and 1834, his health completely gave way. He returned to Russia where he died on 23 January 1837.

Sackville-West and Shawe-Taylor were disingenuous in their comments about long-windedness, conventionality and lack of interest for the “modern” audience. Philip R. Buttall (2005, p.126) considers that “despite the imperfections of the last four concertos, they contain much which is novel and forward-looking for its time, and were they more widely known, might certainly demand a reappraisal of Field’s contribution to musical history.” Certainly, the success of pianist Mícéal O'Rourke’s survey of all seven concertos, the Nocturnes, and other music would suggest that Field is more successful than suggested. Movements from his piano concertos are often heard on Classic FM – invariably in O’Rourke’s recording.

The only example of John Field’s music that was cited by Sackville-West and Shawe-Taylor (1955, p.271) is Myra Hess’s 1933 recording. They could have mentioned Denis Matthews rendition of the Nocturne in E major “Midi” in rondo form, and the Nocturne in E minor, issued on Columbia (DX 1228) in 1945. There was not much else at that time.

It is not possible to identify an exact date of composition for the Nocturne no. 4 in A major. In his study of Chopin and Field, Monte Hill Davis Alexander (1957, p.5) notes that the year 1817 “was memorable for the Nocturnes nos. 4 and 5 (in A and in B flat). No.4 has been described by Dr Ernest Walker (History of Music in England, 1907) as “a most beautiful thing” and “Field’s masterpiece.” An exaggeration but one takes his point with the work’s “grave serenity.”

This Nocturne was dedicated to “Madame Marie de Rosenkampf.”  The lady’s surname translates as “rose-battle.” Piggott (1976, p.124f) also notes that this “is sometimes considered to be the finest of them all.”  It is the first of the Nocturne’s to be written in “clear ternary form.” The principal theme is “an inspired piece of bel canto,” made up of four perfectly balanced phrases. This is developed with considerable ornamentation. The middle section begins like the opening, but soon modulates into C major and a new theme. This is accompanied by triple semiquavers, “surging and throbbing in ever increasing agitation” until a powerful climax is arrived at, now in C sharp major. The music now shifts back to the opening theme, suitably decorated. The ends with a bewitching coda.

Although it has been recorded many times, Hess’s rendition is ideal. She has captured the magic of a Battle of Roses, and has presented the “heady perfume, the glowing richness of colour and the highly charged romantic feeling of such fragrant music.” (Piggott, op.cit.)

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

Bibliography:
Alexander, Monte Hill Davis, Nocturnes of Chopin, Thesis (Presented to the Graduate Council of the North Texas State College in Partial Fulfilment of the Requirements 1957)
Buttall, Phillip R., The Piano Concertos of John Field (1782 – 1837) (Plymouth PRB Music, 2005)
Piggott, Patrick, The Life and Music of John Field 1782-1837: Creator of the Nocturne (London, Faber and Faber, 1973)
Sackville-West, Edward and Shawe-Taylor, Desmond The Record Guide (London, Collins, 1955)