G. Catoire, Quatre Morceaux, Op. 12, No. 3, "Nocturne"

[rachfan]

My posting here of the very lyrical No. 3, “Nocturne” in F# completes the Quatre Morceaux, Op. 12 of the Russian late romanticist Georgy Catoire published in 1901. The piece opens with a lovely introduction featuring counterpoint and interesting harmonies.  As the music unfolds it takes on a Chopinesque sound, although Chopin was not a major influence on Catoire.  Half way through the piece, the writing changes with the left hand taking the melody, sometimes suggestive of Russian bell motifs, while the right hand plays a difficult arpeggiated accompaniment.  All of this leads to an extended coda involving a gorgeous interplay between the hands locked in polyrhythms, ending in a final flight of fancy.  I hope you’ll enjoy it.
 
Piano: Baldwin Model L Artist Grand (6’3”) with lid raised on the singer prop.
Recorder: Korg MR-1000
Mics: Matched pair of Earthworks TC20 small diaphragm, omni-directional condenser mics in A-B configuration

Comments welcome!

[pianowolfi]

This music can make just happy It reminds me very much of some Scriabin and...well of some of my own stuff   
Your playing is well thought-ought, subtle, very sensitive

[rachfan]

Hi wolfi,

Thanks for the compliments!  (But I must apologize for a few slips causing some wrong notes.  The piece is very treacherous, so it's difficult to get a near-flawless recording of it.)  I'm glad you liked this music.  It very atmospheric and has a nice flow to it.  I appreciate you're listening.

David 

[furtwaengler]

Beautiful as always, David. It seems a more autumnal approach, very measured and melancholic...but with a single shape lending to a burst of sunlight through the clouds. I'm with Wolfi in seeing Scriabin...I've never found Chopin in Scriabin, but this Catoire reminds me a bit of the Scriabin people place with Chopin...but is it fair to Catoire that we continually relate him to Scriabin, to Rachmaninov, to Wagner, to Faure? Maybe at some point they all should remind us of Catoire!

Ah well, great work communicating your love for Catoire, and Catoire's love for the piano. Its the starting point for a journey, I think.   

[rachfan]

Hi Dave,

Thanks for listening, and I'm glad you enjoyed this piece.  Yes I too can hear some Scriabin in this nocturne.  In the matter of a Chopin influence on Scriabin, sometime I can detect it in Scriabin's very early works, but not in his middle or late periods.  I will share though that in the second half of this nocturne, the arpeggiated right hand turned out to be quite Brahmsian, especially in the way that the figures frequently "come of the octave" to intervals of 10ths, for example.  Where that figuration is so treacherous, eventually I thought it would drive me to madness!  When I was first examining this score away from the piano, I thought the piece would be straightforward... but I greatly underestimated this work! I had always presumed that the "Etude-fantastique" would prove to be my nemesis.  No!  It was this nocturne that on its surface appeared to be so simple and accessible.    

David

[goldentone]

This seems to me intensely nostalgic, and your choice of tempo fits or accentuates the effect of the nocturne.  It feels like a person in the twilight of their years looking back with a grand judging gaze on their life.  Midway, the sunbeams are very welcome in this deep context, assuring us all is well, and the coda confirms this.  This nocturne is very affecting.  You tamed it well.  It has your customary signature moments of great feeling that make it worth eating the whole box just to hear.  August playing, David. 

This is your last Catoire piece, at least for awhile.  I will miss these.  They have been wonderful.      

[rachfan]

Hi goldentone,

Thanks so much for those kind words along with your perception of the character of this beautiful piece.  I enjoyed reading it and can relate to it.  This will be the last Catoire piece, as I've completed the sets of Opp. 12, 17 and 24, with all of these sets posted here at Piano Street--but not to say I won't return to Catoire sometime in the future.  I just need a respite, and playing some other piano idioms will be a good thing for me.  I'm glad you've enjoyed these pieces as much as I have!

[scottmcc]

very nicely done!  what will be your next project?  I always look forward to your recordings, as they are well-played and well-recorded.  additionally they are almost always works by composers about whom I know very little, and I always appreciate a chance to learn more about music.

again, bravo, and congratulations on finishing the set!

[rachfan]

Hi scottmcc,

Thanks so much for that praise.  I appreciate it!

My next recording is under wraps, as I want it to be a surprise.  Even my wife doesn't know which piece I'm planning to do next.    But hopefully I can do a good job with it and post it here.  I can say it's a composer's music I've never recorded before.  Stay tuned!    

[birba]

I LOVE that part in the middle where the left hand takes over the melody.  Like a metamorphosis.  Those desceding bells in the right hand.  really stunning.

[rachfan]

Hi birba,

Yes, I agree that there's a lot to like in this gorgeous nocturne.  It's very atmospheric, and Catoire was like other Russian composers who shared a fascination with bells, perhaps engendered by the sound of church bells peeling during the Russian Easter and on other occasions.  Catoire was able to skillfully blend the bell tones in a more subtle way in this quiet and reflective music, perhaps making them sound a bit distant, yet the effect is nevertheless stunning as you say.  Thanks for listening!