Why is Chopin's Nocturne Op. 9 No. 2 so famous?

Polish composer Frédéric Chopin (1810- 1849) wrote more than his fair share of great piano music. Amongst his incredible catalogue of compositions, one stands out: his Nocturne, Op. 9 No. 2 in Eb. This nocturne, ranked among the top ten most popular classical pieces on 8notes, owes its appeal to its exquisite melodic craftsmanship, innovative application of ornamentation, refined structural balance, and its accessibility—both emotionally for listeners and technically for pianists.

A little night music

Nocturne, from the French, literally means ‘of the night.’ Originally applied to music in a number of movements intended for an evening party, in the 19th century it came to mean a characteristic solo work for piano. It was first used in this way by Irish composer John Field.

Nocturne in the middle

Op. 9, No. 2 is the second of a set of three nocturnes by Chopin. It was the first set by him in the form and was likely heavily influenced by the example of John Field, whom Chopin was known to admire. Dedicated to Maria Pleyel, the wife of one of Chopin’s friends, they are intimate works, probably intended for small gatherings in Paris salon settings.

Valentina Lisitsa performs Chopin’s Nocturne Op.9, No.2 in Eb

Second to none

Whilst the three nocturnes of Op.9 all share, to some degree, the qualities below, the second has them all in abundance, making it the most appealing of the set:

1. Melodic and harmonic beauty

The work consists of a main and secondary melody that have an exquisite singing quality. There is a graceful unfolding to the first of these, with the second offering an almost conversational response. The melodies unfold over deceptively simple but effective harmony, the first in the key of Eb, modulating to Bb for the second. Chopin introduces, however, some delicious twists, for example, his clever sequence of chords in bar 12 and 20 that take us back to the main key.

2. Structural clarity
Both melodies unfold in a way that feels inevitable and is easy to follow. The opening melody (A) is played twice in the opening 8 bars (second time with ornamentation):

Before the appearance of the second melody (B):

Modulating material in bar 12 returns us to the opening melody in bar 13, with B returning at 17 and A at 21. Bar 25 begins a Coda (ending) with new material that has an improvisatory quality. It seems perfectly to sum up all that has proceeded. There follows a short cadenza like passage at bar 32 before the piece closes.

The whole structure can be summarised as follows:

AABABA - Coda - Cadenza and Close

3. Embellishment and ornamentation
Chopin maintains our interest by his use of embellishment and ornamentation. Each time an idea is repeated it maintains its basic shape but is clothed in new melodic twists and turns or has added ornaments. This both delights the ear and constantly keeps one guessing as to what might happen next.

4. Emotional and technical accessibility.
The almost native quality of the writing, with very little in the way of drama makes the piece easy to grasp for listeners. Whilst it is not an easy piece to play, neither is it virtuosic, making it a popular choice amongst ambitious amateur pianists.

For pianists not so advanced we also have a specially arranged easier short and complete versions available.

A popular classic

All these qualities have helped to elevate the piece, in turn leading to its status as one of the most instantly recognisable works of Western classical music. A reflection of this is the way it has found its way into popular culture. It has been used in the movies, in The Eddy Duchin Story (1957), The Blue Lagoon (1980) and in Bad Santa (2003):

It has also appeared on TV—in Mad Men, Dexter, Bones and The Five Year Engagement—as an outro to band Muses’s song ‘United States of Eurasia’…

…and even in the computer game, Bioshock Infinite: