Chelsea, Nocturne in Blue and Silver (1871). Oil on panel. 50 x 61. A nocturne is usually a musical composition that is inspired by, or evocative of, the night. Historically, nocturne is a very old term applied to night Offices and, since the Middle Ages, to divisions in the canonical hour of Matins. The name nocturne was first applied to pieces in the 18th century, when it indicated an ensemble piece in several movements, normally played for an evening party and then laid aside. Sometimes it carried the Italian equivalent, notturno, such as Wolfgang Amadeus Mozart's Notturno in D, K.286, written for four lightly echoing separated ensembles of paired horns with strings, and his Serenata Notturna, K. 239. At this time, the piece was not necessarily evocative of the night, but might merely be intended for performance at night, much like a serenade. The chief difference between the serenade and the notturno was the time of the evening at which they would typically be performed: the former around 9:00pm, the latter closer to 11:00 pm. In its more familiar form as a single-movement character piece usually written for solo piano, the nocturne was cultivated primarily in the 19th century. The first nocturnes to be written under the specific title were by the Irish composer John Field, generally viewed as the father of the Romantic nocturne that characteristically features a cantabile melody over an arpeggiated, even guitar-like accompaniment. However, the most famous exponent of the form was Frederic Chopin, who wrote 21 of them. One of the most famous pieces of 19th-century salon music was the Fifth Nocturne of Ignace Leybach, who is now otherwise mostly forgotten. Later composers to write nocturnes for the piano include Gabriel Faure, Alexander Scriabin, Erik Satie, Francis Poulenc, as well as Peter Sculthorpe. In the movement entitled 'The Night's Music' of Out of Doors for solo piano, Bela Bartok imitated the sounds of nature. It contains quiet, eerie, blurred cluster-chords and imitations of the twittering of birds and croaking of nocturnal creatures, with lonely melodies in contrasting sections. American composer Lowell Liebermann has written eleven Nocturnes for piano, of which No.6 was arranged by the composer as Nocturne for Orchestra. Other notable nocturnes from the 20th century include those from Michael Glenn Williams, Samuel Barber and Robert Helps. Other examples of nocturnes include the one for orchestra from Felix Mendelssohn's incidental music for A Midsummer Night's Dream, the set of three for orchestra and female choir by Claude Debussy and the first movement of the Violin Concerto No. 1 by Dmitri Shostakovich. French composer Erik Satie composed a series of five small nocturnes. These were, however, far different from those of Field and Chopin. In 1958, Benjamin Britten wrote a Nocturne for tenor, seven obbligato instruments and strings, and the third movement of his Serenade for Tenor, Horn and Strings is also titled Nocturne. Nocturnes are generally thought of as being tranquil, often expressive and lyrical, and sometimes rather gloomy, but in practice pieces with the name nocturne have conveyed a variety of moods: the second of Debussy's orchestral Nocturnes, Fotes, for example, is very lively, as are parts of Karol Szymanowski's Nocturne and Tarantella and Kaikhosru Shapurji Sorabji's Symphonic Nocturne for Piano Alone.