John Field, generally known as the Irish Romantic, is undoubtedly the most misunderstood composer in the history of classical music. There are two principal reasons for this musical miscarriage of justice. One is Field's birth in Dublin. He has always been viewed through the lens of the gentle, lyrical Irish bard and balladeer. The second factor is the forward to the first edition of Field's Eighteen Nocturnes. This was written by Franz Liszt, whose personal antipathy toward Field, and his loyalty to Frederic Chopin, induced him to create a radically distorted picture of both Field the man and his music. This forward, which is still reprinted in modern editions of Field's Nocturnes, has been a major factor in the bad interpretations and performances of his music. Field was not an "Irish" composer at all. He left his home in Dublin at the age of nine, initially under the tutelage of Muzio Clemente, his teacher, and spent the remainder of his life in Europe, absorbing its musical culture.
Field is actually the evolutionary link between Haydn, Mozart and Beethoven, and the Romantics who followed. The nocturne form, which is Field's major claim in the history of music, was inspired by the piano sonatas of the previously mentioned composers, particularly the adagio movements of Beethoven's middle-period. These nocturnes contain the same intensely personal emotion and drama that we associate with Beethoven. There are also several striking parallels between passages in the Beethoven sonatas and Field's nocturnes that leave absolutely no doubt about the principal source of the nocturne. Field's musical notations, if faithfully followed, would result in the proper interpretations and performances of these little masterpieces. But pianists uniformly ignore Field's notations in order to create an aura that they assume is the true expression of Field's "Irishness."
The book, "John Field and the Nocturne," examines all of these matters in considerable detail, and serves as a handbook for teachers and pianists who are interested in a guide to the correct interpretation of each nocturne. Readers who desire more information about the book can check the web site, johnfieldirishromantic.com.
The author, Allan Wagenheim, is a former teacher of English composition and literature who has pursued a parallel career as piano teacher and accompanist. He has had a special interest in Romantic piano music and its emergence from classicism. He is the author of "John Field and the Nocturne." Now retired, Mr. Wagenheim devotes much of his time composing chamber music.
Source: www.articledashboard.com
