Chopin (1810-1849) composed at least 21 nocturnes, 18 of which were published in his life time. A 19th was issued in 1855, and two other earlier example have since been found and are both performed. The French term Nocturne was first used by the Irish composer and pianist John Field (1782-1837), whose own nocturnes were generally personal slow character pieces for piano with characteristic left hand configurations. Chopin clearly knew Field's compositions but had the self-confidence to appropriate the genre as he felt fit, and used it as a vehicle for some of his most original compositional writing. If we consider the opus numbers of Chopin's nocturnes (op. 9, op. 15, op. 27, op. 32, op. 37, op. 48, op. 55, op. 62) we can see they were written throughout his career, and although the first two sets contained three nocturnes, the remainder appeared as pairs. Although it is often said that the nocturnes are three part structures (ABA), it is perhaps fairer to say that some of their most arresting moment comes when Chopin confounds this expectation. Indeed other nocturnes have such complex central sections that it is almost insulting to describe them is such simplistic terms. Their common features, usually in the opening bars, are frequent filigree left hand accompaniments to relatively simple but effective melodic writing for the right hand. The mood is nearly always contemplative and introspective, although again, Chopin will frequently turn this upside down within the space of a couple of bars.

The two nocturnes op 62 were written in 1846, and were dedicated to Mademoiselle de Könneritz. The second of these is the E major nocturne, which bears the tempo marking Lento. At this time, Chopin's relationship with George Sand, which began in 1838, had cooled and was rapidly reaching the point of no return. Her grown up children made their time together a series of conflicts. In particular, her son Maurice was particularly vocal about his antipathy towards Chopin, a cause of continual tension between mother and son. In 1847, George Sand's daughter, Solange entered into a disastrous marriage which increased the tension and Chopin eventually departed the life of the family once and for all. In 1846, Chopin seems to have taken refuge from his personal tribulations by burying himself in work. He composed 4 mazurkas, 3 waltzes and 2 nocturnes. The E major nocturne seems to bear the imprint of his complex and tense existence, and it manages to combine perhaps the most extreme contrasts of any in the series. The Agitato central section seems to explode the gentle melancholy with which the nocturne begins, through its disturbed dactyl rhythm and powerful dynamics.