John Field (composer)

Last updated

John Field, c. 1820 John field.jpg
John Field, c. 1820

John Field (26 July 1782, baptised 30 September 1782 23 January 1837) was an Irish pianist, composer, and teacher. [1] Field is best known as the inventor of the nocturne, but there is evidence to suggest that this is a posthumous accolade. He is mentioned in passing in War and Peace when Countess Rostova calls on the Rostov household musician to play her favourite nocturne. [2]


He was born in Dublin into a musical family, and received his early education there, in particular with the immigrant Tommaso Giordani. The Fields soon moved to London, where Field studied under Muzio Clementi. Under his tutelage, Field quickly became a famous and sought-after concert pianist. Together, master and pupil visited Paris, Vienna, and St. Petersburg. Ambiguity surrounds Field's decision to remain in the former Russian capital, but it is likely that Field acted as a sales representative for the Clementi Pianos.

Field was very highly regarded by his contemporaries and his playing and compositions influenced many major composers, including Frédéric Chopin, Johannes Brahms, Robert Schumann, and Franz Liszt. Although little is known of Field in Russia, he undoubtedly contributed substantially to concerts and teaching, and to the development of the Russian piano school. [3]

Notable students include Prussian pianist and composer Charles Mayer.

See: List of music students by teacher: C to F#John Field.


1782–1801: Early life

A plaque commemorating John Field in Golden Lane, Dublin. John Field Plaque, Golden Lane.JPG
A plaque commemorating John Field in Golden Lane, Dublin.

Field was born in Golden Lane, Dublin in 1782, [4] the eldest son of Irish parents who were members of the Church of Ireland. His father, Robert Field, earned his living by playing the violin in Dublin theatres. Field first studied the piano under his grandfather (also named John Field), who was a professional organist, and later under Tommaso Giordani. [5] He made his debut at the age of nine, a performance that was well-received, on 24 March 1792 in Dublin. [6] According to an early biographer, W. H. Grattan Flood, Field started composing in Ireland, but no evidence exists to support his claim. Flood also asserted that Field's family moved to Bath, Somerset, in 1793 and lived there for a short time, and this too is considered unlikely by modern researchers. By late 1793, though, the Fields had settled in London, where the young pianist started studying with Muzio Clementi. This arrangement was made possible by Field's father, who was perhaps able to secure the apprenticeship through Giordani, who knew Clementi.

Field continued giving public performances and soon became famous in London, attracting favourable comments from the press and the local musicians. Around 1795 his performance of a Dussek piano concerto was praised by Haydn. Field continued his studies with Clementi, also helping the Italian with the making and selling of instruments. He also took up violin playing, which he studied under J. P. Solomon. His first published compositions were issued by Clementi in 1795; the first historically important work, the Piano Concerto No. 1, H 27, was premiered by the composer in London on 7 February 1799, when he was aged 16. Field's first official opus was a set of three piano sonatas published by (and dedicated to) Clementi in 1801. [6]

1802–1829: Settling in Russia

In summer 1802 Field and Clementi left London and went to Paris on business. They soon travelled to Vienna, where Field took a brief course in counterpoint under Johann Georg Albrechtsberger and had a meeting with Beethoven who Field played in front of in October and was highly praised by Beethoven. In early winter arrived in Saint Petersburg. Field was inclined to stay, impressed by the artistic life of the city. Clementi left in June 1803, but not before securing Field a teaching post in Narva and "appointing" the young man as his deputy, so that Field would receive similarly high fees. After Clementi's departure, Field had a busy concert season, eventually performing at the newly founded Saint Petersburg Philharmonic Society. In 1805 Field embarked on a concert tour of the Baltic states, staying in Saint Petersburg during the summer. The following year he gave his first concert in Moscow. Clementi arranged the publication of some of Field's old works in Russia in late 1806; he evidently sold Field a piano in exchange for music. Field returned to Moscow in April 1807 and apparently did not revisit Saint Petersburg until 1811 (but he kept his apartment at Vasilievsky Island). In 1810 he married Adelaide Percheron, a French pianist and former pupil. [6]

Up to 1808 almost all publications of Field's music were reissues of old works. In 1808–9 he finally began publishing newly composed music, starting with piano variations on Russian folksongs: Air russe varié for piano 4 hands, H 10, and Kamarinskaya for piano, H 22. In 1811 the composer returned to Saint Petersburg. He spent the next decade of his life here, more productive than ever before, publishing numerous new pieces and producing corrected editions of old ones. He was successful in establishing a fruitful collaboration with both H.J. Dalmas, the most prominent Russian publisher of the time, and Breitkopf & Härtel, one of the most important music publishing houses of Europe. In 1815 Field fathered an illegitimate son, Leon Charpentier (later Leon Leonov  [ ru ]), but remained with his wife. They had a son, Adrien, in 1819; Leon would later become a famous tenor, active in Russia, while Adrien followed his father's steps and became a pianist. By 1819 Field was sufficiently wealthy to be able to refuse the position of court pianist that was offered to him. His lifestyle and social behaviour were becoming more and more extravagant. [6]

In 1818 Field revisited Moscow on business, prompted by his collaboration with the publisher Wenzel. He and his wife gave a series of concerts in the city in 1821, the last of which marked their last appearance in public together. Adelaide left Field soon afterward (taking Adrien with her) and attempted a solo career, which was not particularly successful. Field stayed in Moscow and continued performing and publishing his music. In 1822 he met Johann Nepomuk Hummel; the two collaborated on a performance of Hummel's Sonata for Piano 4-Hands, Op. 92. [6]

1830–1837: Last years and death

Partly as a result of his extravagant lifestyle, Field's health began deteriorating by the mid-1820s. From about 1823 his concert appearances started decreasing; by the late 1820s he was suffering from rectal cancer. Field left for London to seek medical attention. He arrived in September 1831 and, after an operation, gave concerts there and in Manchester. He stayed in England for some time, meeting distinguished figures such as Mendelssohn and Moscheles. In March 1832 his former teacher and friend Clementi died, and Field acted as pallbearer at his funeral. [7] On Christmas Day 1832 Field was in Paris, performing his 7th Piano Concerto, which received a mixed reaction, just as at his recent concerts in England. After a series of concerts in various European cities, Field spent nine months (1834–5) in a Naples hospital. His Russian patrons rescued him. He briefly stayed with Carl Czerny in Vienna, where he gave three recitals, and then returned to Moscow with his son Adrien. [6] He gave his last concert in March 1836 and died in Moscow almost a year later, on 23 January 1837, from pneumonia. He was buried in the Vvedenskoye Cemetery. According to an eyewitness report, when asked on his deathbed what his religion was, Field replied with a characteristic pun: "I am not a Calvinist, but a Claveciniste (French for harpsichordist)." [8]


None have quite attained to these vague eolian harmonies, these half-formed sighs floating through the air, softly lamenting and dissolved in delicious melancholy. Nobody has even attempted this peculiar style, and especially none of those who heard Field play himself, or rather who heard him dream his music in moments when he entirely abandoned himself to his inspiration.
Franz Liszt's preface to his edition of Field's nocturnes, 1859. (English translation by Julius Schuberth, 1859) [9]

Field became well-known for his post-London style, probably developed in Moscow around 1807. The characteristic texture is that of a chromatically decorated melody over sonorous left hand parts supported by sensitive pedalling. Field also had an affinity for ostinato patterns and pedal points, rather unusual for the prevailing styles of the day. Entirely representative of these traits are Field's 18 nocturnes and associated pieces such as Andante inedit, H 64. These works were some of the most influential music of the early Romantic period: they do not adhere to a strict formal scheme (such as the sonata form), and they create a mood without text or programme. [6] These pieces were admired by Frédéric Chopin, who subsequently made the piano nocturne famous, and Franz Liszt, who published an edition of the nocturnes based on rare Russian sources that incorporated late revisions by Field. Liszt's preface to the said edition was an extensive eulogy for Field and his nocturnes. [9]

Field also gave a few lessons to the young Mikhail Glinka, who was to become the first notable Russian composer.

Similarly influential were Field's early piano concertos, which occupy a central place in the development of the genre in the 19th century. Already the earliest of these works show competent and imaginative orchestration, and bold, original piano writing. One interesting trait of his piano concertos is their limited choice of keys: they all use either E-flat major or C major at some point (or both, in the last concerto's case). Composers such as Hummel, Kalkbrenner and Moscheles were influenced by these works, which are particularly notable for their central movements, frequently nocturne-like. Some of the less known works were also historically important: particularly the piano fantasies, in which Field pioneered the Romantic large scale episodic structure. [6]

None of his piano sonatas, and only two of his 7 piano concertos, have a formal slow movement. In performance, Field would interpolate an existing nocturne in a related key or improvise one. [10]

List of works

This list is arranged according to Hopkinson numbers, introduced in the 1961 catalogue by Cecil Hopkinson. Many of these works were arranged for other instruments and (or) revised by the composer himself; such arrangements and revised versions are not listed.

H 1 Variation on "Fal Lal La" for pianoA major??
H 2 Rondo "Favorite Hornpipe" for pianoA major??
H 3Rondo"Go the devil" for pianoC major??
H 4Variationon "Since then I'm doom'd" for pianoC major??
H 5Rondo"Slave, bear the sparkling goblet" for pianoG major [n 1] ?
H 6Rondo"The two slaves dances" for pianoG major??
H 7Variationon "Logie of Buchan" for pianoC major??
H 8Op. 1 Sonata Piano Sonata No. 1E flat major??
Piano Sonata No. 2A major
Piano Sonata No. 3C minor
H 9 Concertante "Pleyel's" for piano, violin & celloF major??
H 10Variation"Air russe" for piano 4 handsA minor??
H 11Andante for piano 4 handsC minor??
H 12"Danse des ours" for piano 4 handsE flat major??
H 13 Nocturne for piano (12)E major??
H 14 Divertissement No. 2 for pianoA major??
H 14 Nocturne for piano (7)A major??
H 15Op. 3 Fantasia on "Guardami un poco" for pianoA major??
H 16 Marche triomphale for pianoE flat major??
H 17Sonatafor pianoB flat major??
H 18 Rondeau for pianoA flat major??
H 19Grande valsefor piano 4 handsA major??
H 20Variationon "Vive Henry IV" for pianoA minor??
H 21 Polonaise for pianoE flat major??
H 22Variationon "Kamarinskaya" for pianoB flat major??
H 23Rondo"Speed the Plough" for pianoB major??
H 24NocturneNo. 1 for pianoE flat major??P 1814
H 25NocturneNo. 2 for pianoC minor??P 1814
H 26NocturneNo. 3 for pianoA flat major??P 1814
H 27 Piano Concerto No. 1E flat major [n 2] ?
Rondofrom Piano Concerto No. 1
Variationon "Within a mile" for pianoB flat major
H 28Piano ConcertoNo. 4E flat major [n 3] ?
Rondofrom Piano Concerto No. 4
H 29Rondofrom Piano Concerto No. 3E flat major??
H 30NocturneNo. 9 (8) for pianoE flat major??
H 31 Piano Concerto No. 2 A flat??
Poco adagiofrom Piano Concerto No. 2E flat major
Rondofrom Piano Concerto No. 2A flat major
H 32Piano ConcertoNo. 3E flat major [n 4] ?
H 33 Étude "Exercice modulé sur tous les tons majeurs et mineurs" for piano??
H 34 Piano quintet A flat major??
H 35Fantasiaon "Ah! quel dommage" for pianoG major??
H 36NocturneNo. 4 for pianoA major??P 1817
H 37NocturneNo. 5 for pianoB flat major??P 1817
H 38Rondofor pianoA major??
H 39Piano ConcertoNo. 5 "L'incendie par l'orage"C major [n 5] ?
Rondofrom Piano Concerto No. 5
H 40NocturneNo. 6 for pianoF major??
H 41Variationon a Russian folksong for pianoD minor??
H 42 6 Dances for piano??
H 43Rondofor piano 4 handsG major??
H 44Étude"Exercice nouveau" No. 1 for pianoC major??
H 45NocturneNo. 7 (13) for pianoC major??
H 46NocturneNo. 8 (9) for pianoE minor??
H 47"The Maid of Valdarno" [n 6] ?
H 48"Exercice nouveau" No. 2 for pianoC major??
H 49Piano ConcertoNo. 6C major [n 7] ?
H 49RondoNo. 6 from Piano ConcertoC major??
H 502 Songs??
H 51Waltz"Sehnsuchts-Walzer" for pianoE major??
H 52 Rondoletto for pianoE flat major??
H 53Rondo"Come again, come again" for pianoE major??
H 54NocturneNo. 10 for pianoE major??
H 55Nocturne"Le troubadour" for pianoC major??
H 56NocturneNo. 11 for pianoE flat major??
H 57Fantasiaon "We met" for pianoG major??
H 58NocturneNo. 12 (14) for pianoG major [n 8] ?
Piano ConcertoNo. 7C minor
H 59NocturneNo. 13 (15) for pianoD minor??
H 60NocturneNo. 14 (16) for pianoC major??
H 61NocturneNo. 15 (17) for pianoC major??
H 62NocturneNo. 16 (18) for pianoF major??
H 63Nocturne– for pianoB flat major??
H 64 Andante inedit for pianoE flat major??
H 65 Pastorale for piano [n 9] ?
H 66Nocturne"Dernière pensée" for piano [n 10] ?
H 67"88 passages doigtés" for piano [n 11] ?
H deestÉtude"Exercice" for pianoA flat major??
H deestFantasiaon "Dans le jardin" for pianoA minor??
H deest Largo for pianoC minor??
H deest Prelude for pianoC minor??


In the Dublin suburb of Walkinstown there is a road called Field Avenue, one of a number of so called 'musical roads' named after prominent Irish musicians.

See also


  1. Manuscript lost
  2. 1799
  3. 1814, revised in 1819
  4. 1811
  5. 1817
  6. Manuscript lost
  7. 1819, revised in 1820
  8. 1822, revised in 1822–32
  9. Manuscript lost
  10. Manuscript lost
  11. Manuscript lost

Related Research Articles

Muzio Clementi Italian-born English composer, pianist, pedagogue, conductor, music publisher, editor, and piano manufacturer

Muzio Filippo Vincenzo Francesco Saverio Clementi was an Italian-born English composer, pianist, pedagogue, conductor, music publisher, editor, and piano manufacturer.

Johann Nepomuk Hummel Austrian composer and pianist

Johann Nepomuk Hummel was an Austrian composer and virtuoso pianist. His music reflects the transition from the Classical to the Romantic musical era.

Emil Gilels Soviet pianist

Emil Grigoryevich Gilels was a Soviet pianist. He is widely regarded as one of the greatest pianists of all time.

Johann Baptist Cramer British musician

JohannBaptist Cramer was an English pianist and composer of German origin. He was the son of Wilhelm Cramer, a famous London violinist and conductor, one of a numerous family who were identified with the progress of music during the 18th and 19th centuries.

Andrei Gavrilov Russian musician

Andrei Gavrilov is a Swiss pianist of Russian background.

Ozan Marsh was a pianist active in concert performances throughout the world as well as across the United States.

Denis Matsuev Russian pianist

Denis Leonidovich Matsuev is a Russian classical pianist.

Alexander Brailowsky pianist

Alexander Brailowsky was a Russian-born French pianist who specialized in the works of Frédéric Chopin. He was a leading concert pianist in the years between the two World Wars.

Míċeál O'Rourke is an Irish pianist who is best known for his recordings of works by John Field.

Peter Katin British pianist and pedagogue

Peter Roy Katin was a British classical pianist and teacher.

Daniel Pollack is an American pianist.

Boris Berman is a Russian pianist and pedagogue.

Tommaso Giordani was an Italian composer active in England and particularly in Ireland.

Michele Esposito was an Italian musical composer, conductor and pianist who spent most of his professional life in Dublin, Ireland.

Max Erdmannsdörfer German musician

Max Erdmannsdörfer was a German conductor, pianist and composer.

Józef Wieniawski Polish musician

Józef Wieniawski was a Polish pianist, composer, conductor and teacher. He was born in Lublin, the younger brother of the famous violinist Henryk Wieniawski. After Franz Liszt, he was the first pianist to publicly perform all the études by Chopin. He appeared with Liszt in recitals in Paris, London, Copenhagen, Stockholm, Brussels, Leipzig and Amsterdam.

Isidor Achron Concert pianist, a composer and a teacher

Isidor Yulyevich Achron was a pianist, composer and music teacher.

Gregory Haimovsky is Russian a pianist, writer, and pedagogue.

Andrej Hoteev Russian pianist

Andrej Ivanovich Hoteev is a Russian classical pianist living in Germany.

Philip Cogan was an Irish composer, pianist, and conductor.


  1. Library Ireland, "John Field"
  2. Tolstoy, Count Lev Nikolayevich (1869) [Original publication date in Russian]. War and Peace. Oxford: Oxford University Press. p. 558. ISBN   9780199232765.
  3. Piggott, Patrick. 1973. The Life and Music of John Field, 1782–1837, Creator of the Nocturne. University of California Press. ISBN   978-0-520-02412-0
  4. The Etude, August 1915
  5. The Etude (August 1915). "John Field". Archived from the original on 5 February 2005.
  6. 1 2 3 4 5 6 7 8 Langley, Grove.
  7. Moss, Charles K. (4 November 2003). "John Field: The Irish Romantic". Carolina Classical Connection. Archived from the original on 6 December 2003.
  8. Piggott 1973, 97–98.
  9. 1 2 Preface to: John Field – 18 Nocturnes, edited by Franz Liszt. Leipzig: J. Schuberth & Co., n.d. Edition Schuberth No.140; various plate numbers. 1859. Available online.
  10. Calum MacDonald: "John Field", Limelight , October 2012, p. 60.