The opening melody will be familiar to many who nevertheless cannot identify it by name (a fragment of the gesture melody even found its way into one of the James Bond movies, cleverly used in conjunction with deep-sea imagery). Two strophes are repeated three times each, varied with ever greater ingenuity upon each reiteration (the piece is one of the composer's most graceful essays in fioritura ornamental practices). The Nocturne in D-flat major, Op.27, No.2 is of a different sentiment altogether, exploring the many sides of just one basic mood rather than presenting the kind of dramatic conflicts contained within its immediate predecessor.
The composer's conception of nocturne form (and sentiment), as embodied here, is virtually unrecognizable as the same genre he inherited from Irish composer John Field. Many feel these two works to be among the very best of his compositions they are certainly two of the most powerful-and, as fate would have it, famous-nocturnes he ever penned. la Comtesse d'Appony-are Chopin's third publication in the genre. The Two Nocturnes, Op.27-dedicated to Mme.
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