This piece draws inspiration from the piano nocturnes of Chopin and John Field, and also in some respects from the strikingly effective, brooding nocturnes of contemporary composer Lowell Liebermann. (More recently, Liebermann wrote a piece for carillon, Music for Carillon, on commission from the Johan Franco Composition Fund Committee of The Guild of Carillonneurs in North America.) All of the aforementioned wrote many nocturnes (pieces intended to create a night-like atmosphere) which featured an ostinato accompaniment (repeating pattern) and an attractive, lyric melody. Typical also is an ABA form, with the middle section being more agitated in character. Liebermann's contribution to the genre is a freer approach to harmony, with many dramatic shifts in key area. In applying the elements I so admire to a carillon piece, I added the presentation of the A theme, at its return, in the bass range, which is always so effective on the lower bells. Thus far, I have not written a Nocturne No. 2, but I anticipate writing more such pieces in the future. I believe there is great potential for carillon pieces in this genre. The Nocturne is another of my compositions written with the nighttime recitals I play at graduation weekend at Culver (and other occasions at Ball State) in mind, and was therefore premièred at Culver on June 4, 2005.

I dedicated this piece to John Pozdro, Professor Emeritus of Composition at the University of Kansas, whose carillon music has been such an inspiration to me. It has been my pleasure to collaborate with Dr. Pozdro on two commissioned works, and also participating with him in the composition of a piece (A Summer's Night). It is only fitting that he be honored with a dedication. In light of his recent death, it is now dedicated to his memory, but fortunately, he lived to see and hear this piece, back when I first wrote it.

For this piece to be effective, it is critical that the performer pay close attention to matters of balance, particularly when the melody is in the treble range. It is probably best not to play this piece on a carillon with dry, short-ringing treble bells, as a resonant upper range is critical for sustaining the melody. (This is not a problem either at Culver or Ball State, and it is with those two instruments in mind that this piece was written.) Also, when the ostinato figuration is in the pedal in particular, it is critical that the performer keep the dynamic level very low in order to balance the long melody notes above it. (This is of course less of an issue when the texture is inverted, with the melody in the bass.) It is crucial that there be plenty of rhythmic "give and take" in the performance of this decidedly romantic piece, though all such gestures should be executed smoothly and gracefully, as is appropriate to the piano prototypes.

—John Gouwens