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The essence of love. The yearning of every day beauty. The desire to ignite an emotional attachment to another person or even to the surrounding world. In her new CD, Singing The Nocturnes, French pianist Elizabeth Sombart creates a lasting impression of Polish composer Frédéric Chopin’s most memorable pieces. Influenced by ‘night music’ and the idea of nocturnal dreamscapes, Sombart’s take on the 21 Nocturnes cements her rightful place among classical music’s most brilliant artists. It’s one thing to play notes from a page, to read a script, it’s another thing entirely to project such beauty.
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Her playing is beyond reproach. Nestled between the intimate moments, the fluttering notes reach out like dangling participles, in the selections like “Nocturnes, Op. 9, No. 2_No. 2 in E-Flat Major” and “Nocturnes, Op. 27, No. 1_No. 7 in C-Sharp” Sombart, who is from France, echoes the power-hour vibes. When I think of night music there is always something somber or even sinister that meanders its way into my conscience. What makes Sombart and her renditions of the Nocturnes so pristine is her subtlety. She never forces the notes, never presses too quietly or too strongly. Each key circulates like a pebble to water. The expansive reams hug the listener. It’s a thrilling and very fulfilling listen.
In “Nocturnes, Op. 32 No. 2_No. 10 in A-Flat Major” the space feels even greater. The dramatics in the arrangement give life to the notes – almost as if they were telling a story and leaping off the sheet. The ‘conversation’ the notes has is hurried, then subtle, then hurried again and finally a welcoming, open discussion. The night, Chopin seems to communicate, has lulls and epiphany sparks that nudge and disrupt sleep. They are not all scary – some of these wonderful conversations happen during the wee hours. I think we can all remember a time when the world seemed to stand still and we wanted that clock to stay on 1 a.m. forever, outside, in the summer time next to a best friend. This song struck me as that exact memory. It’s also what I hear in my mind if Shakespeare’s A Midsummer’s Night Dream. It has folly, drama and love. So does Chopin weave these same emotions into his work – Sombart executes with poise.
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So many songs to choose from in this prolific CD. Sombart has tackled a daunting, expansive repertoire. I devoured each piece and found myself completely transfixed by her relentless quality. While I can’t boast of having heard these songs in a concert setting, Sombart transported me to a place where time loses meaning. You can feel the gratitude she has for Chopin in each of these works. By the final track, “Nocturnes, posth._No. 21 in C minor” the mood winds down, the candlelight feels a bit dimmer. What doesn’t lose its grip is the enchanting way Sombart’s piano beckons the listener to be thankful for the night’s passions. One would be hard pressed to not enjoy Singing The Nocturnes. I can’t stop singing its praises.
by Jennifer Munoz
