John Field “Sonatas and Nocturnes”

Since I had begun research on Field and his Nocturnes already from researching Maria Szymanowska, and one of my fellow students had researched Field, it seemed appropriate to continue the investigation on, as Joshua Hey said Field was called, 'creator “of the style of pianism regarded as ‘Chopinesque’ (Langley, 2009).”' An excellent way to illustrate Field's style being called “Chopinesque” was a conversation that followed between two of the music library's librarians about John Field when I asked to check out the CD:

Librarian 1: Field sounds so much like Chopin...
Librarian 2: What? No! Chopin sounds like Field!
Librarian 1: Yeah, but no one knows who Field is.
Librarian 2: That still doesn't mean he didn't come before Chopin.
Librarian 1: Have you ever heard a non-musician talking about Field??

While then I was ready to ask Librarian 1, “Have you ever heard a non-musician talking about Chopin?”, the conversation did bring up an interesting point: why is it Field has been forgotten? Can there be a time and place that directly pinpoints Field being overshadowed by Chopin, were there multiple reasons for Chopin to receive credit for this style, or is it simply by chance? I sought to answer these questions.

Something to consider is that many of Field's publications in London were published anonymously (Temperley, 1975). While this is no basis for drawing any sort of conclusion, it does paint the character of Field as someone who is not interested in fame; or, least not through his compositional work. His main focus seemed revolved around working as a concert pianist. General difficulties with finding documentation of the Nocturne's early publication dates, locations, etc. could also tie into this (Temperley, 1974).

Another factor was the slow acceptance of the Nocturne, since the use of complicated bass rhythms was not yet seen by audiences. “A technical problem confronted composers of piano music at this time: how to combine an expressive melody in the treble with well-spaced harmonies maintained at a constant dynamic level, all under the hands of a single player, who could give a freely personal interpretation impossible in (say) a four-hand duet.” (Temperley, 1975) These new and complicated techniques used in the Nocturne might have been a factor in its slow early growth.

Regardless of the reason, Field's works are revolutionary, and do not seem well recognized for their fresh and wondrous new look at the potential of the piano. To you, Joshua Hey, I do not only “suppose” that we give Field thanks, but give it to him without restraint, and a warm hand shake along with it!