Maria Szymanowska’s Nocturne in B-flat is a lovely and lyrical piece that melds the musical idioms of the Classical era with the emerging sensibilities of the Romantic period. The Nocturne exhibits the charm and delicate order found in Classical works at its beginning, but slowly relaxes into the more lush harmonies and textures of the Romantic style. It almost seems as if Szymanowska is welcoming in Romanticism, embracing and exploring the upcoming changes in the musical scenery. Upon listening to some of her work, it becomes clear why she has become more well-known and people acclaim her music. A listener finds much to gravitate towards in Szymanowska’s music, especially as her work slowly unfolds from a subtle and pretty to something passionate and more expansive.

Victoria makes a comparison between the works of Szymanowska and John Field, who she is often paired with due to the similarities in their style of composition. Victoria expresses a clear preference for the music of Szymanowska over the “comparatively dry in emotion” sonatas of John Field. While I agree that the musicality of a piece does owe something to the performer, I believe that Szymanowska’s composition is the main contributor to the musical ideas here. As one of the first piano virtuosos of the Romantic era, Szymanowska was undoubtedly composing to show the pianist of to the maximum advantage. The music she writes is filled with opportunities for the soloist to grab the attention of the audience and inspire them. Szymanowska made her living from her piano skills and writing music that showcased her talents would have been obvious for a seasoned performer. In a side speculation, the Nocturne was written in 1852. At that time, Szymanowska was permanently established in St. Petersburg, making one wonder if any of the emerging traditions of Russia were influences or inspirations.

Another point from Victoria’s journal that I would like to address is the issue of Robert Schumann’s comments on Szymanowska. Like Victoria, I accept the description of Szymanowska as the “feminine Field.” In light of the evidence identifying her as Field’s pupil, I consider the comment a valid statement on the style and influences evident in Szymanowska’s work. I am, however, having difficulties with the phrase “vacillating woman.” When one looks up the definition of vacillating in the dictionary, one finds that the word means to swing indecisively from one course of action or opinion to another. Listening to the Nocturne, the shifts in style are deliberate and the composer has a clear vision and point of view. The use of the word vacillating suggests that Schumann has taken the traditional view of women in the 19th century and used it to dismiss Szymanowska. When coupled with comment “if she only knew how,” the phrase ‘vacillating woman” feels like a cheap shot. I, however, will try to be understanding. When this piece was composed, Schumann was in the midst of a period of increased productivity and it is to be expected that he would have been distracted by his work and the continuously alternating musical and mental landscapes.