Nocturne No. 5 in B flat for Piano Cover Image

Nocturne No. 5 in B flat for Piano: Piano (Solo)

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Nocturne No. 5 in B flat for Piano Cover Image
Nocturne No. 5 in B flat for Piano: Piano (Solo)

Nocturne No. 5 in B flat for Piano: Piano (Solo)

From the Series "More Than the Score..."

Masterclass by Daniel Grimwood / Composed by John Field

Item: 98-EP73155
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Description

more than the score… is a series of classic piano music, covering much of the essential repertoire from Bach through Mozart, Schubert, Mendelssohn, Chopin and Debussy, right up to John Cage. Each volume focuses on one piece, with written masterclasses and background information encouraging an exploration of the music – beyond the printed score.

All titles in the Edition Peters more than the score… series include written masterclasses from one of our panel of internationally-renowned pianists including Joanna MacGregor, Roy Howat, Daniel Grimwood, Clare Hammond and Adam Tendler.

more than the score… draws on material released on Tido Music, a revolutionary web resource and iPad app.

The terrain of John Cage's In a Landscape is one of lyrical vastness. Its distant musical horizons frame a soundscape that is ever changing but always made from the same beautiful sonic geology. This beautiful piece, a classic twentieth century masterpiece, is suitable for pianists at an intermediate level and offers a perfect introduction to the work of one of the century's most important and provocative composers.

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Additional Details
Series: Edition Peters
Publisher: Edition Peters
Page Count: 16
ISBN10: 0-57-701474-9
ISBN13: 979-0-5770-1474-6
SKU: 98-EP73155

More about this title

About the Composer: John Field

John Field (1782, 1837) was an Irish pianist and composer who essentially invented the nocturne as a piano genre. Working in Dublin, London, and later Russia, he developed a lyrical, song-like approach to solo piano writing that emphasized singing melody over virtuosic display. His nocturnes became the template that Chopin would later refine and popularize, making Field a crucial figure in the transition from Classical to Romantic piano music.

Why we love this

Field's nocturnes occupy a sweet spot for developing pianists: they demand genuine musical maturity and touch without requiring superhuman technical facility. The B flat nocturne sits comfortably in the hands while asking for real attention to phrasing, dynamics, and the delicate balance between melody and accompaniment that defines the form.

What to expect

Intimate and contemplative, the nocturne unfolds like a private musical meditation. Lyrical lines float over gently rocking accompaniment, creating an atmosphere of quiet elegance tinged with the melancholy that defines the Romantic era.

Who it's for

This nocturne suits intermediate pianists ready to move beyond purely technical studies into repertoire that rewards interpretive choice and musical sensitivity. It's especially valuable for students preparing for auditions or recitals who need a piece that showcases control and musicianship.

How to get the most out of it

  • Shape the main melody as though singing it; let rubato breathe naturally rather than imposed mechanically, especially in the lyrical passages.
  • Balance the left-hand accompaniment so it supports without overwhelming. The arpeggiated figures should feel like a gentle harmonic cushion, not a rhythmic motor.
  • Listen carefully to how the piece modulates and shifts character. Mark those structural moments clearly in your score so you can guide the listener through the form.
  • Explore the relationship between the main theme and its variations. Each return should feel both familiar and slightly reimagined.

How to use it

Pair this with other solo piano works from the same era to create a recital that traces the nocturne's development from Field through Chopin. It also works beautifully as a closing piece on a chamber or mixed instrumental concert, offering a moment of introspection before intermission or finale.

Skills your students will build

  • Controlling pedal to sustain harmonies without muddying texture
  • Balancing independent melodic and accompaniment voices within one hand
  • Shaping legato phrasing across longer musical spans
  • Using rubato tastefully and idiomatically to the Romantic nocturne style
  • Understanding harmonic function and how modulations signal form

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