Muzio Clementi: Sonata B Minor op. 40,2 / Sonata G Minor op. 50,3
John Field: Nocturnes nos. 1, 4, 14
Frédéric Chopin: Nocturne E flat Major op. 9,2

Kristian Nyquist, Fortepiano

In London in late 1793, the eleven-year-old John Field (1782–1837) became a pupil of Muzio Clementi (1752–1832). Clementi, at that time known in France as “Pape des musiciens” (pope of the musicians), was considered the undisputed piano pedagogue in Europe. Neither of them could have imagined that their association would prove to be one of the most significant germ cells for the development of piano music in the nineteenth century. The importance of their relationship is still underestimated. This recording focuses on the musical fruits of this encounter.

The British capital city was then also home to other renowned pianists, including J. L. Dusik (Dussek) (1760–1612), Adalbert Gyrowetz (1763–1850), and Johann Baptist Cramer (1771–1858). Cramer had himself emerged from Clementi’s talent factory. Because of his substantial influence within the European musical scene, having Clementi as a teacher opened up possibilities for launching a career. He recognized the talent of John Field, who had already made appearances as a musical child prodigy in his hometown of Dublin. Already after a few months, Clementi allowed his new pupil to appear in public. The success was so great that further concerts followed, including one attended by no less than Haydn, who then noted in his diary: “Field, a lad, who plays the piano extraordinarily well!”

Three Nocturnes by John Field are heard as a bridge to the new epoch, even if one does not want to regard them as the first “Romantic” compositions altogether. Field is considered the “inventor” of these largely languorous, poetic character pieces. There are sixteen in all. The “singer among the pianists,” as Louis Spohr aptly described him and which stands here to represent all the surviving reports about his artistry as a performer, is present with distinctive cantabile and tasteful elegance in every note.