No. 9, Op. 32-1, B major

This Nocturne is relatively easy technically, making it playable once the score is read. However, it also contains many points that require careful attention. It is a Nocturne where the difference between those who listen carefully to the music and those who do not becomes strikingly apparent. Let's examine it from the beginning. It is advisable to consider each phrase as a two-measure unit. Looking at the opening measures 1-2, if you extract the right-hand melodic notes on beat 1 and beat 3 of measure 1, and beat 1 of measure 2, you will notice a simple descending scale: D#, C#, B. In these two measures, consider a diminuendo as you progress. Specifically, measure 2, beat 1, is where the chord F#, A#, C#, E from measures 3-4 of the previous measure resolves. Under no circumstances should you place an accent on the melodic B.

The subsequent delicate 16th notes after this B should be considered as an addition to an important statement. Therefore, they are not as crucial a statement, so play them lightly, p. Measures 3-4 convey the exact same content as measures 1-2, but the manner of expression differs. It becomes more ornamental, with a sense of elegance.

From here, I will explain two significant issues that must be carefully addressed when performing this Nocturne. The first issue concerns measures 5-6. The markings of crescendo, fermata, and stretto here are problematic. To discuss common pitfalls:

• Rushing until the last note of m. 6 simply because of stretto.
• Applying a crescendo until the last note of m. 6 simply because of crescendo.
• Resting excessively simply because of fermata. While one of these might be acceptable, combining all three can sound truly unnatural. This is very difficult to explain in writing, but it's perhaps a feeling of progressing agitato and then taking a sudden breath.

Neither a significant crescendo nor a strong stretto is applied. Only a slight hint of such an atmosphere is desired. Then, play gently so that the mood of m. 7 completely transforms the mood of m. 6. Performers should study the timing and dynamics of mm. 5-6 by watching numerous videos (limited to professional performances, of course) to ensure it does not sound unnatural. Now, the next issue lies in the left hand from m. 8 onwards. If you look at the left hand up to at least m. 12, you will notice many notes with two stems emanating from a single note. Many students fail to observe this. Even if they believe they are, they are not truly listening carefully. Practicing the left hand alone will reveal this more clearly. First, the pedal point F# must be connected "without interruption." Do not create even a momentary break. This means the 5th finger of the left hand should never lift off the keys, but rather remain constantly on them to maintain the connection. Furthermore, the melody in the upper voice must also be connected. And on top of that, the pedal must not become muddy, making this a very challenging section.

When a composer writes two stems from a single note, there is always a reason. There are various reasons, such as wanting to emphasize, sustain, or avoid a break. Always strive not to neglect this.

While these two points of caution are essential for this Nocturne, I will list typical points of advice gained from my teaching experience:

• M. 16, right hand 32nd notes: Do not rush. Take ample time and play leggiero.
• Mm. 23-26, bring out the top voice in the right hand.
• Vary the mood between mm. 27-28 and mm. 29-30.
• From around m. 37, apply broading (or broaden the tempo), adopting a slightly slower tempo, and in m. 39, beat 2, reach the B with ample time.
• Another challenging section is the Coda. It requires operatic and improvisatory elements. For this section too, listen to performances by various artists to avoid sounding unnatural.