Subjunctive Mood
There are special types of sentences which are said
to be in Subjunctive Mood.
These sentences violate the usual rules relating to
subject-predicate agreement in number and in tense.
But these sentences are considered grammatically
correct ones.
1. Present Subjunctive-Mood:
In sentences in the Subjunctive Mood, the verb is
always in the singular and present tense form, even
it the subject is in plural number, and the tense is in
past tense or in future tense.
Sentences in which you would normally have used
the verbs is, are, was, were or will be should have
the root word ‘be’ if they are in the Subjunctive
mood.
There are two ways in which sentences are formed in
the Present Subjunctive Mood.
In formal phrases expressing a wish or a hope
or a cause.
Examples:
• Long live the Queen!
• God, save the motherland!
• May heaven help you!
• Curse, be on him!
In a noun clause formed as the object a verb
indicating a desire, intention, command,
recommendation, request, resolution etc…
Examples:
• The public have demanded that a flyover should be
constructed at the traffic junction.(Incorrect)
• The public have demanded that a flyover be
constructed at the traffic junction.(Correct)
• The disciplinary committee recommended that the
manager should be dismissed from service.
(Incorrect)
• The disciplinary committee recommended that the
manager be dismissed from service.(Correct)
• The court ordered that the defendant pays the
plaintiff a sum of ten thousand dollars.(Incorrect)
• The court ordered that the defendant pay the
plaintiff a sum of ten thousand dollars.(Correct)
• The government official was willing to share some
secrets with journalist on condition that the source
must be kept secret.(Incorrect)
• The government official was willing to share some
secrets with journalist on condition that the source
be kept secret.(Correct)
• The rules relating to test cricket mandate that the
fielding team should bowl a minimum of twenty
overs in the last session.(Incorrect)
• The rules relating to test cricket mandate that the
fielding team bowl a minimum of twenty overs in the
last session.(Correct)
• It is important that your son should start studying
for TOEFL and GMAT straightaway if he wishes to go
to USA.(Incorrect)
• It is important that your son start studying for
TOEFL and GMAT straightaway if he wishes to go to
USA.(Correct)
These sentences are in Subjunctive-Mood.
2. Past Subjunctive-Mood:
You have been taught the normal conjugation of the
verb ‘be’ in the present tense as I
am, You are, He is, They are, We are.
But in the sentence in the Past Subjunctive Mood,
the grammatical conjugation for the
present tense is itself “I were, You
were, He were, They were”.
When the verb used is different from BE, it is the
past tense form of the verb (such as stayed, walked,
lent, tackled) That is used even in sentences in the
present tense.
The Subordinate clauses, if any, in such sentences
must also be expressed with verbs in the past tense.
The Past Subjunctive is used in the following
circumstances.
After the verb ‘wish’.
Examples:
• I wish I were the Prime Minister of India for a year.
• How I wish Harvard University gave me admission
in MBA.
• I wish my brother were here now so that he could
teach me algebra.
In sentences describing contrary to fact
situations:
Examples:
• If the earth were to rotate in the opposite
direction, the sun would rise in the west.
• If we started now and travel at the speed of light,
It would take us eight minutes to reach SUN.
In sentences starting with ‘as if’ and ‘as
though’.
Examples:
• George tries to order me about as if I were his
wife.
• Do you notice Robert walking as though he were
drunk?
• William spends money as if he had won a lottery.
These sentences are in Subjunctive-Mood.
In sentences starting with ‘it is time’.
Sentences starting with ‘it is time’ indicate that it is
already late for taking the indicated action.
Examples:
• The match will commence at 10o’clock and it is
time you got ready. (Not ‘it is time you get ready)
• It is already half past midnight, and it is time we
returned home. (Not ‘it is time we return home)
In sentences starting with ‘I would rather’, ‘he
would rather’ etc…
Such sentences indicate one’s preferences, and also
are expressed in Subjunctive Mood.
Examples:
• I would rather you took up the job.
• He wishes to study medicine
• But his mother would rather he applied to the
engineering college.
These sentences are in Subjunctive-Mood.

Siopao Ingredients:
Adobong Kambing Ingredients:
• 1 kilo kambing spareribs (Goat’s Spare
ribs), cut into serving pieces, bones intact
• cooking oil
• 2 thumb size ginger, sliced
• 1/2 head garlic, crushed
• 1 large onion, sliced
• 1 tsp. peppercorns
• 2 stalk lemon grass
• 3 bay leaf
• 1/2 c. soy sauce
• 3-5 pcs. green hot chilli
• 3/4 c. vinegar
• salt and pepper
Adobong Kambing Cooking Instructions:
• Marinate kambing in 1/2 c. vinegar
( this will remove the pungent odor of
the meat )
Siopao Cooking Instructions:
• 1 tsp. salt and 1/2 tsp. pepper for 15 to
30 minutes before cooking.
• Drain and discard marinade.
• In a frying pan fry kambing in batches
until color changes to golden brown
and start to sizzle.
• In a saucepan put in fried kambing,
pour in 2-3 c. of water, 1/4 c. vinegar
and soy sauce.
• Add lemon grass, ginger, onion, garlic,
peppercorns, bay leaf and chilli.
• Bring to a boil and simmer in medium
heat for 15-30 minutes or until tender
and liquid is reduced to almost dry.
• Serve hot with a lots of rice.
• 6 cups flour
• 1 package active dry yeast
• 1 lb cubed pork loin or chicken thighs
• 1 cup white sugar
• 2 teaspoons cooking oil
• 1 cup lukewarm water
• 1/2 cup boiling water
• 6 hard-boiled eggs
• 2 green onions
• 4 teaspoons light soy sauce
• 4 teaspoons brown sugar
• 4 teaspoons oyster sauce
• 1 teaspoon cornstarch, dissolved in 2 t.
water
• 2 cloves garlic
• 3 teaspoons salt
• 6 teaspoons baking powder
• Siopao Dough:
○ Mix flour, salt and baking powder
in a medium bowl, set aside.
○ In another bowl dissolve yeast in
lukewarm water then add 1 cup of
the flour mixture.
○ Mix thoroughly.
○ Cover with a cloth and let rise 1
hour.
 ○ Meanwhile, dissolve the white
sugar in the boiling water.
○ Stir well then let cool to lukewarm.
○ Pour into the yeast mixture, then
add the rest of the prepared flour
mixture.
○ Stir to blend well.
○ Grease a large bowl.
○ Turn dough out onto a floured
board and knead for 3 minutes-you
want your dough smooth, not
sticky.
○ Place ball into bowl, turn once and
cover with a damp cloth.
○ Let rise 2 hours or until doubled.
•
• Siopao Filling:
○ Saute the garlic and onions in a
small amount of oil in a wok.
○ Add meat and stir fry for 1 minute
or until meat is no longer pink.
○ Add soy sauce, oyster sauce and
brown sugar.
○ Pour in the dissolved cornstarch
and stir fry quickly until meat is
glazed well.
○ Remove from heat and let cool.
• How to make Siopao:
○ Punch down dough and knead on a
floured board for 3 to 5 minutes.
○ Divide dough and roll each half into
a 12×2 inch log.
○ Cut each into 12 pieces, making
24.
○ Roll each piece into a ball using
your hands then rolling it flat into a
3 inch diameter circle.
○ Dust with flour if needed to prevent
sticking.
○ Place 1 slice of egg into center of
dough round, then 1 T. of filling
with sauce.
○ Gather sides of round, pinch
together and twist.
○ Place pinched side down on
parchment paper and place in
steamer.
○ Repeat until done.
○ Cover with a damp cloth and let
rise for 1 hour.
○ Steam Siopao for 20 minutes.
○ You can freeze cooked Siopao,
simply re-steam for 10 minutes.
Chicken Balls Tomato Soup Ingredients
• Chicken Balls:
• 100 g ground chicken
• 1/2 cup soft bread crumbs
• 1/4 cup chopped green onions
• 1 sachet 8g MAGGI MAGIC SARAP
• 1 pc egg
• 1/2 tsp salt
• 1/2 tsp pepper
• 2 tbsp oil
• 1 tbsp finely chopped garlic
• 1/2 cup chopped onions
• 1/4 cup chopped tomatoes
• 1/2 cup chopped carrots
• 1/4 cup chopped celery
• 1 cup chopped cabbage
• 2 pcs 11g MAGGI Chicken Broth Cube
dissolved in 8 cups water
• 100 g sotanghon soaked in water and
drained
Chicken Balls Tomato Soup Cooking Instructions:
 • Cook rice over low fire for about 1 hour
and 15 minutes or until done. Stir
• Combine ground chicken, bread
every 10 minutes.
crumbs, green onions, MAGGI MAGIC
Chicken Satay Ingredients:
SARAP, egg, salt and pepper. Mix well
and set aside.
• 2 medium chicken thighs
• Heat oil and saute garlic, onions, and
• 1 tsp ground white pepper
tomatoes.
• When the tomatoes are limp, add in the • 1 tsp garlic powder
carrots, celery and cabbage for 5
• 1 tbsp ground turmeric
minutes or until limp.
• 1 tbsp aniseed powder
• Pour in prepared chicken broth and let
boil. • 1 tbsp ground cumin
• Form 1 teaspoon of chicken mixture
• 1 tbsp paprika powder
into balls and add one by one into the
• 1 tbsp ground coriander
boiling broth. Let boil for another 5
minutes. • 2 tbsp vegetable oil
• Add sotanghon into the broth, simmer
• 1 medium lime
for another 2 minutes. Serve hot.
• 6 6 inch wooden skewers
Caldereta Rice Ingredients:
• 1 teaspoon
• 2 cups long grain rice uncooked
• 1 tablespoon
• 2 tbsp. cooking oil
• 1 knife
• 2 sachets 8g MAGGI MAGIC SARAP
• 1 bowl
• 1/2 cup tomato paste
Chicken Satay Cooking Instructions:
• 1/2 cup liver spread
• Step 1: The Satay Mix
• 2 tbsp brown sugar
Into a bowl put a teaspoon of ground
• 1/2 cup cubed carrots white pepper, a teaspoon of garlic
powder, a tablespoon of aniseed
• 1/3 cup frozen peas
powder, a tablespoon of ground cumin,
• 1/3 cup corn kernel
a tablespoon of ground coriander, a
• 4 cups water tablespoon of paprika, and a
tablespoon of ground turmeric. Stir
Caldereta Rice Cooking Instructions:
thoroughly to create a dry satay mix.
• Soak rice in water for about 30
Transfer 2 tablespoons of the mix into
minutes. Drain well.
another bowl, one tablespoon for each
• Heat oil and sauté rice and MAGGI
of our two chicken thighs. Add 2
Flavor-it Meat Powder Beef for about 3
tablespoons of vegetable oil. Stir to
minutes.
create a paste.
• Add in rest of the ingredients. Mix well.
• Step 2: The Chicken
Remove the bones by running a sharp
knife down either side. The top end will
 come away easily. Then cut around the
bottom of the bone and remove the
gristle. Trim and scrape off any excess
fat. Tear the skin away as this will
burn. Carefully cut from the middle into
one side of the thigh and fold it open.
Cut into the other side the same way to
open it out. This will create a flat,
evenly sized piece of chicken. Slice into
pieces of about 5 centimetres.
Repeat with the second thigh. Run the
knife alongside the bone and cut it out
along with the gristle. Feel with your
fingers to make sure all the bones are
removed and then tear away the skin.
Cut into both sides and open out. Slice
into strips ready to be marinated.
• Step 3: Marinate
Place the chicken strips into the bowl
with the marinade. Mix well. The
consistency of the marinade should
evenly coat the chicken, lift the strips
up to make sure this is the case. As it
is a strong sauce the chicken is ready
to cook immediately.
• Step 4: Get Skewering
TOP TIP
Soak the skewers in cold water for a
few seconds, this will prevent them
from burning when cooking.
Take a skewer and thread on a chicken
piece. Try to ensure that the skewer
doesn’t show through either side. Push
it down but leave room at the bottom
for holding. Thread on a second, and
then a third piece. Satay literally
means ‘Triple Stacked’ so aim to thread
3 pieces on each skewer if you can.
Repeat with the next skewer, and then
the next until you have run out of
meat. You should have enough chicken
to fill at least three skewers. This can
be a messy procedure so wash you
hands well when finished.
• Step 5: Grill
Place the skewers onto a grill or griddle
pan that has been preheated to a high
temperature and leave to cook.
Occasionally press them down but not
too hard though as this may squeeze
the flavours out. If the meat sticks
gently prise it loose.
After about 4 minutes, when the
chicken is a golden brown, turn it, and
leave the other side to brown for a
further 4 to 5 minutes. To check the
chicken is cooked through, cut into it.
It should be white inside. When done
transfer the satay to a serving plate.
• Step 6: Serve
TOP TIP
Roll a lime back and forth under your
hand. This will squeeze the insides
making it juicier
Cut a wedge from the lime and place it
alongside the satay.
Satay is an informal dish in Malaysia
and is often bought and eaten on the
streets. It is especially good served
with a peanut dipping sauce. Sprinkle
chopped peanuts on top of the sauce as
a finishing touch.
Chicken a la King Ingredients:
• 3 tablespoons butter
• 1 cup fresh sliced mushrooms
• 1/2 cup chopped green bell pepper
• 1/4 cup all-purpose flour
• 1 teaspoon salt
• 1/8 teaspoon pepper
• 2 cups evaporated milk or half-and-half
• 1 1/2 cups chicken broth
• 3 cups diced cooked chicken
 • 1/4 cup chopped pimiento • Add shredded puso ng saging and
simmer until puso is tender, about 7
Chicken a la King Cooking Instructions:
minutes.
• Melt butter in a medium saucepan.
• Add malunggay leaves, bring to a boil
• Add mushrooms and green pepper;
then serve right away.
cook for 5 minutes.
Tinola Manok Ingredients:
• Blend in flour, salt, and pepper.
• 1 kilo whole chicken, cut into pieces.
• Continue stirring and cooking until
• 1 small young papaya or sayote, cut
smooth and bubbly.
into small pieces.
• Gradually add milk and chicken broth,
• 2 tablespoons ginger, crushed and
stirring constantly.
slliced into strips
• Cook for 10 minutes, stirring
• 1/2 cup dahon ng sili (chili leaves)
frequently.
• 1 liter of water
• If you’d like a thicker sauce, blend 2
• 5 garlic cloves, minced
tablespoons of cornstarch with 1/4 cup
cold water; add to sauce, a little at a • 5 pieces of tomatoes, sliced
time, until desired thickness is reached.
• 1 red onion, diced
• Cook for a few more minutes.
• 4 tablespoons oil
• Add chicken and pimiento; heat
• 2 tablespoons patis (fish sauce)
through.
Tinolang Manok Cooking Instructions:
• Serve on toast points or pastry shells
• In a stock pot, heat oil and sauté garlic,
or rice.
onion, tomatoes, chicken and ginger.
Kinamunggayang Manok Ingredients:
• When the tomatoes are cooked add
• 1 tbsp crushed garlic water.
• Bring to a boil and simmer for about 20
• 2 tbsp oil
minutes or until chicken is almost done.
• 1/2 cup sliced onion
• Season with patis or salt.
• 1/2 k chicken cut into serving pieces • Add papaya and continue to simmer for
an additional 5 minutes or until papaya
• 3 pcs MAGGI Chicken Broth Cube dissolved
softens but not overcooked.
in
• Add sili leaves then turn off the heat.
• 6 cups water
• Serve steaming hot with plain rice.
• 3 cups puso ng saging, shredded La Paz Batchoy Ingredients:

• 2 cups malunggay leaves

• 1 kilo mami noodles
Kinamunggayang Manok Cooking Instructions: Broth

• Heat oil, sauté garlic, onions and
chicken together until chicken has
changed color.
• Pour in water and Maggi Broth Cubes.
Bring to a boil then simmer for about
10 minutes or until chicken is tender.
1 medium size onion, quartered
1/2 head garlic, crushed
1/2 tsp. shrimp paste (bagoong)
1 tbsp. peppercorns, crushed
2 tbsp. worcestershire sauce
10-12 c. beef/pork stock
1 tbsp. sugar
 1 tsp. soy sauce
salt to taste
Toppings
• 250 g. pork
• 150 g. pork liver
• 150 g. shrimps
• 1 pc. chicken breast
Garnishing
chicharon, crushed ,chopped garlic,fried
,chopped spring onion
La Paz Batchoy Cooking Instructions:
• In a large pot, pour in 10-12 c. of stock
(from boiled beef and pork bones) and
add all broth ingredients and bring to a
boil.
Reduce heat and blanch shrimp until
cooked.
Remove shrimp from the pot, remove
shell and head each shrimp, set aside.
Add in pork, chicken and liver in the
pot, let simmer for 20–25 minutes or
until pork, chicken and liver are tender
add more stock if necessary.
Remove pork, chicken and liver from
the pot, drain and let cool.
Continue simmering the broth in low
heat until ready to serve, season with
salt to taste.
Slice the pork, chicken and liver into
thin strips and set aside.
Place noodles in serving bowl and pour
strained boiling stock over the noodles.
Top with pork, chicken, liver, shrimp.
Garnish with chicharon, spring onion
and fried garlic.
Serve immediately.
Tortang Alimasag Ingredients:
• 3 tbsp butter or margarine
• 1 tbsp flour
• 1 tbsp MAGGI Savor Classic
• salt and cayenne pepper to taste
• 3/4 cup NESTLE All Purpose Cream
• 1 1/2 cups crabmeat reserve 6 shells
• 1/2 cup chopped button mushrooms
• 2 tbsp chopped parsley
• 1 tbsp minced onions
• 1 pc eggyolk, slightly beaten
• 1/2 tsp mustard
• 1 tbsp calamansi juice
• 1 tbsp butter, melted
• 1/2 tsp paprika
Tortang Alimasag Cooking Instructions:
Melt butter, stir in flour, MAGGI Savor, salt and
pepper.
Stir in NESTLE All Purpose Cream and simmer until
thick.
Fold in crab meat, mushrooms, parsley and
onions.
Divide mixture into the six buttered crab shells.
Set aside.
Combine the egg yolk, mustard, calamansi, butter,
and paprika then brush over crab meat.
Pan fry until golden brown. Drain in paper towels
and serve
Tilapia With Gata and Bell Pepper Ingredients:
• 1 tbsp cooking oil
• 1 1/2 tsp minced ginger
• 1 tsp minced garlic
• 1/2 cup sliced onions
• 1 pc 11g MAGGI Chicken Broth Cube
• 2 cups coconut milk
• 1/2 kg tilapia, cut-up into 6
• 1 1/2 cups red bell pepper or 3 finger chilis,
cut into strips
Cooking Instructions: • 1/2 cup sliced baguio beans

• Heat cooking oil and saute ginger, • 1/4 cup vinegar

garlic, onions and MAGGI Chicken
• 1 cup tomato sauce
Broth Cube.
• 1 11g MAGGI Chicken Broth Cube dissolved
• Pour in coconut milk. Simmer for 1
in
minute.
• Add fish and red bell pepper or finger • 1 cup water
chilis.
• 1 piece bay leaf
• Cook about 2 minutes or until fish
• 1 tsp. sugar
flakes easily.
Tilapia Sisig Ingredients: • 1/4 tsp salt

Squid Estofado Cooking Instructions:

• 1 1/2 cup flaked fried tilapia
Season squid with salt and pepper. Dredge with
• 3 tbsp MAGGI Savor Garlic
flour and brown in hot oil.
• 3/4 cup chopped onions
Put squids on one side of the pan, and leave about
• 3 tbsp MAGGI Chili Sauce 2 tablespoons of oil in the pan. Saute garlic and
onions until limp.
• 1 tbsp cooking oil
Add carrots, baguio beans and bay leaf, pour in
• Cook’s Tips:
vinegar, tomato sauce, and broth, bring to boil
For a crunchier sisig cook tilapia mixture
without stirring.
longer. You can use leftover tilapia or any
Lower heat and simmer for another 5 minutes or
other fried fish.
until vegetables are crisp tender.
Tilapia Sisig Cooking Instructions: Grilled Chicken Burger Ingredients:

• Combine tilapia, MAGGI Savor Garlic,

• 1/2 kg. ground chicken
onions, and MAGGI Chili Sauce.
• Mix well.
• 1/4 cup cored seeded and finely chopped
red pepper
• In a hot plate put cooking oil and stir-
fry tilapia mixture. • 1 tbsp. chopped parsley
• Serve hot.
• 1 tbsp. chopped wansoy leaves
Squid Estofado Ingredients:
• 1 tbsp. minced garlic
• 1/2 kg medium size squid cleaned ink sac
• 1/4 tsp. dried thyme
removed
• 1/8 tsp. ground cumin
• 1/2 tsp salt
• 1 tsp. MAGGI Chilli Sauce
• 1/8 tsp. pepper
• 1 piece MAGGI Chicken Broth Cube
• 1/2 cup flour
• 12 pieces hamburger buns toasted on the
• 1/4 cup oil for frying
grill
• 1 tbsp minced garlic • mayonnaise
• 2 tbsp chopped onion
• dijon-style mustard
• 1 cup sliced carrots
 • lettuce tomatoes & cucumber for garnish lower heat. Continue simmering until beef is
tender or about 2 hours. Set aside.
Using a different pan, heat oil then sauté
garlic and onions until limp. Add back
PROCEDURE
tenderized beef and broth, bring to a boil.
Prepare medium-hot fire in a charcoal or gas
Add pickle relish, tomato sauce, liver spread
grill.
and cheese. Continue simmering until sauce
In a medium mixing bowl, combine the
slightly thickens. Season with salt and pepper
ground chicken with the next 8 ingredients.
to taste.
Divide mixture into 12 and form into patties.
Add fried potatoes and carrots and cook for
Place the patties on a well-oiled grill.
another 5 minutes.
Cook for 10 minutes or until done, turning
Breaded Chicken Fillet Ingredients:
once.
Burgers are done when the juices run clear,
• 4 pcs chicken breast fillets
prick to test.
• 1 8g MAGGI MAGIC SARAP
Serve immediately on buns that have been
toated on the edge of the grill. • 2 tbsp lemon juice
Top burgers with the mayonnaise and
• 2 eggs
mustard and your choice of garnish.
Beef Caldereta Ingredients:
• salt to taste

• 2 tbsp all-purpose flour

• 2 cups and 2 tbsp unsweetened pineapple
juice
• 1/2 cup dry breadcrumbs

• 1 kg. beef ribs

• oil for frying

• 2 pieces small onions, sliced

• lemon wedges

• 2 8g. MAGGI Magic Sarap

• green peas, buttered

Breaded Chicken Fillet Cooking Instructions:

• 2 tbsp. cooking oil
• 2 tbsp. minced garlic
• ¼ cup chopped onions
• 1 tbsp. pickle relish
• 1 250ml. tomato sauce
• 1 85g. can liver spread
• ¼ cup grated cheddar cheese
• salt and pepper to taste
• 2 pieces medium potatoes, cubed and fried
• 1 piece medium carrots, cubed and fried
Flatten chicken breast fillets until the meat is of
even thickness, about 1/2 inch.
Cut meat into uniform serving portions. Rub with
MAGGI MAGIC SARAP and lemon juice. Let stand
20 min.
Beat eggs with salt and 2 tbsp water.
Dust each chicken piece with flour then dip in the
egg mixture.
Roll in breadcrumbs to coat. Fry in hot oil until
golden brown.Drain in paper towels and serve with
lemon wedges and buttered green peas.
Menudo Ingredients:

Beef Caldereta Cooking Instructions:
Combine beef, pineapple juice, onions and
MAGGI Magic Sarap in a pan. Boil briskly then
• 1/2 kilo pork (cut into small chunks)
• 1/4 kilo pork liver (cut into small
cubes)
 • 5 pieces chorizo Bilbao (also cut in
small pieces)
• 4 potatoes (peeled, cut in small cubes,
fried)
• 1 green and 1 red bell pepper (diced)
• 1 cup chickpeas
• 1/4 cup raisins
• 1/2 teaspoon paprika
• 1 cup pork or chicken stock
BEST GUACAMOLE
• 2 teaspoons of patis (fish sauce)
• 3 tablespoons oil INGREDIENTS
• 1 tablespoon atsuete oil (optional)
2 avocados
• 3 tomatoes (diced)
• 1/2 lemon, juiced
• 1 small head of garlic (minced)
• 1 medium size onion (diced) • 2 tablespoons chopped onion

Menudo Cooking Instructions: • 1/2 teaspoon salt

• 2 tablespoons olive oil

• In a pan or wok, heat cooking oil and
atsuete oil.
• Saute garlic, onion. Then add the pork,
liver, chorizo de Bilabo, tomatoes, bell
pepper, paprika, patis and the stock.
• Cover and bring to a boil. Simmer for
20 minutes or until the pork is tender.
• Add the chickpeas, potatoes and
raisins. Boil of another 2 minutes.
• Salt and pepper to taste.
• Serve hot with white rice.
DIRECTIONS
1. Cut the avocados into halves. Remove the seeds,
and scoop out the pulp into a small bowl. Use a
fork to mash the avocado. Stir in lemon juice,
onion, salt, and olive oil. Cover the bowl, and
refrigerate for 1 hour before serving.
DEVILED EGGS
INGREDIENTS
• 8 eggs

• 1/2 teaspoon prepared mustard

• 1 tablespoon creamy salad dressing

• salt and pepper to taste

• 1 pinch paprika
DIRECTIONS
Place eggs in saucepan and cover with water. Bring to
boil. Cover, remove from heat, and let eggs sit in hot
water for 10 to 12 minutes. Remove from hot water
and cool.
Peel and cut in half lengthwise. Remove yolks and
combine with mustard, salad dressing and salt and
pepper. Mix together until smooth.
Refill each egg half with the yolk mixture and sprinkle
with paprika.
CHEESE BALLS
INGREDIENTS
INGREDIENTS
• 2 (8 ounce) packages cream cheese, softened
• 1 (1 ounce) package ranch dressing mix
• 2 1/2 cups shredded Cheddar cheese
• 1 1/2 cups chopped pecans
DIRECTIONS DIRECTIONS
1. In a medium size bowl, mash cream cheese. Mix
dressing mix and Cheddar cheese into the
cream cheese. Shape the mixture into a ball.
Roll the ball in the chopped nuts. Refrigerate
covered until ready to serve.
NUTS AND BOLTS
INGREDIENTS
• 1 pound chopped peanuts
• 1 pound mixed nuts
• 1 1/2 cups puffed wheat cereal
• 6 1/2 ounces crispy rice cereal squares
• 10 1/2 ounces toasted oat cereal
BACON AND TOMATO CUPS
• 6 ounces pretzel bits
• 6 ounces slim pretzels INGREDIENTS
• 2 cups vegetable oil
• 2 tablespoons Worcestershire sauce
• 1 tablespoon garlic salt
• 1 tablespoon seasoning salt
• 1 tablespoon celery salt
DIRECTIONS
1. Preheat oven to 200 degrees F (95 degrees C).
Lightly grease two 9x13 inch baking dishes.
2. Combine peanuts, nuts, wheat cereal squares,
rice cereal squares, toasted oat cereal, pretzel
bits, and slim pretzels in prepared baking dish.
Mix together, and spread out evenly in dish.
3. In a medium bowl, combine oil, Worcestershire
sauce, garlic salt, seasoned salt, and celery salt.
Mix together, and pour mixture over dry
ingredients. Place mixture into the 2 prepared
baking dishes.
4. Bake for 1 1/2 to 2 hours, or until toasted and
crispy, stirring with a wooden spoon every 15
minutes.
MINI PIZZAS
• 1 pound ground beef
• 1 pound fresh, ground pork sausage
• 1 onion, chopped
• 10 ounces processed American cheese, cubed
• 32 ounces cocktail rye bread
1. Preheat oven to 350 degrees F (175 degrees C).
2. In a large skillet, brown ground beef and
sausage.
3. Mix onion into the sausage and beef mixture,
and saute it until tender. Drain grease out of
skillet. Stir processed cheese food into the
mixture. Continue cooking until cheese melts.
Arrange slices of bread on a cookie sheet, place
heaping spoonfuls of the mixture onto each
slice of bread.
4. Bake 12 to 15 minutes.
• 8 slices bacon
• 1 tomato, chopped
• 1/2 onion, chopped
• 3 ounces shredded Swiss cheese
• 1/2 cup mayonnaise
• 1 teaspoon dried basil
• 1 (16 ounce) can refrigerated buttermilk biscuit
dough
 DIRECTIONS
1. Preheat oven to 375 degrees F (190 degrees C).
Lightly grease a mini muffin pan.
2. In a skillet over medium heat, cook bacon until
evenly brown. Drain on paper towels. Crumble
bacon into a medium mixing bowl, and mix with
tomato, onion, Swiss cheese, mayonnaise and
basil.
• 1/3 cup unsweetened cocoa powder
• 2 eggs
• 1/2 cup buttermilk
• 1-1/2 teaspoons vanilla
• 3 cups tiny marshmallows
• Chocolate Topper or Chocolate-Peanut Topper
Directions
1. Preheat oven to 350 degrees F. Line a 15x10x1-

3. Separate biscuits into halves horizontally. Place inch baking pan with foil, extending the foil up over
each half into cups of the prepared mini muffin the edges of the pan. Grease foil; set aside. In a
pan. Fill each biscuit half with the bacon large bowl, combine flour, sugar, baking soda, and
mixture. salt; set aside.
4. Bake for 10 to 12 minutes in the preheated oven
, or until golden brown. 2. In a medium saucepan, combine butter, the water,
and cocoa powder. Bring mixture just to boiling,
MINI CHEESE CAKES stirring constantly. Remove pan from heat. Add the
chocolate mixture to the flour mixture; beat with an
INGREDIENTS
electric mixer on medium speed until combined. Add
• 12 vanilla wafers eggs, buttermilk, and vanilla. Beat for 1 minute more

• 2 (8 ounce) packages cream cheese, softened (batter will be thin). Pour batter into prepared pan.

• 2 eggs 3. Bake in the preheated oven about 25 minutes or

• 2 tablespoons lemon juice until a toothpick inserted in the center comes out
clean.
• 2/3 cup white sugar

• 1 (21 ounce) can cherry pie filling
DIRECTIONS
1. Preheat oven to 350 degrees F (175 degrees C).
2. Line muffin tins with 12 paper baking cups.
Place a vanilla wafer in each one.
3. In a medium mixing bowl beat cream cheese
until fluffy. Add eggs, lemon juice, and sugar.
Beat until smooth and thoroughly combined.
4. Fill each baking cup 2/3 full with cream cheese
mixture.
5. Bake in preheated oven for 15 to 17 minutes.
Cool on a rack. Top with fruit pie filling. Pipe
whipped cream or sweetened cream cheese into
a rosette on top of each cheesecake just prior
to serving, if desired.
Chunky Path Brownies
4. Sprinkle marshmallows over hot brownies. Top
with Chocolate Topper or Chocolate-Peanut Topper.
Cool in pan on a wire rack.
5. To serve, remove brownies from pan by lifting
foil. Place on cutting board; cut into bars. Makes 48
brownies.
Chocolate Topper: In a medium saucepan, combine
one 12-ounce package semisweet chocolate pieces,
1/2 cup whipping cream, and 1/4 cup butter. Cook
and stir over medium-low heat until melted. Drizzle
over brownies.
Chocolate-Peanut Topper: In a medium saucepan,
combine 1-1/3 cups semisweet chocolate pieces, 1
cup creamy peanut butter, and 3 tablespoons butter.
Cook and stir over medium-low heat until mixture is
smooth. Drizzle over brownies. Sprinkle with 1 cup
chopped dry roasted peanuts.

Ingredients TO STORE: Place brownies in a single layer in an

• 2 cups all-purpose flour airtight container; cover. Store in the refrigerator
• 2 cups sugar for up to 3 days.
• 1 teaspoon baking soda
• 1/4 teaspoon salt
• 1 cup butter
Sticks and Stones Candy Bark
• 1 cup water
INGREDIENTS
• 1 (11 ounce) package NESTLE® TOLL HOUSE®
Butterscotch Flavored Morsels, divided
• 1 1/2 cups NESTLE® TOLL HOUSE® Semi-
Sweet Chocolate Morsels
• 1/2 cup creamy peanut butter
• 2 cups thin pretzel sticks
• 2 cups dry roasted peanuts
• 1 (10 ounce) package NESTLE® TOLL HOUSE®
Semi-Sweet Chocolate-Covered Raisins
2. In a large bowl, combine cheese, butter or
margarine, flour, crispy rice cereal, salt,
Worcestershire sauce, garlic powder, cayenne
pepper, and black pepper. Mix well and form
small balls out of the dough (the dough will yield
approximately 55 balls). Flatten each ball of
dough with your fingertips until the dough is
very thin and arrange the discs on a cookie
sheet.
3. Bake for 12 minutes; or until the Cheese
Crispies are golden and slightly brown around
the edges.

DIRECTIONS

1. BUTTER a 9x13 inch glass baking dish.

2. MICROWAVE 1 1/3 cups butterscotch morsels,

semi-sweet morsels and peanut butter in large,
microwave-safe bowl on HIGH (100 percent)
power for 1 minute; stir. Microwave at
additional 10- to 20-second intervals, stirring
until smooth.
MAJA BLANCA
3. ADD pretzels, peanuts and chocolate covered
raisins; stir well to coat. Spread into prepared Maja Blanca Ingredients:
baking dish.

4. PLACE remaining butterscotch morsels in small, • 1/2 c. thick coconut milk

heavy-duty plastic bag. Microwave on MEDIUM-
HIGH (70 percent) power for 30 seconds; • 1 c. rice flour
knead bag to mix. Microwave at additional 10-
• 1 c. sugar
to 20-second intervals, kneading until smooth.
Cut tiny corner from bag; squeeze to drizzle • 1/2 c. cornstarch
over candy.

5. REFRIGERATE for 1 hour or until firm. Break

• 3 tbsp sweet corn kernel
into bite-size pieces.

• 4 c. fresh coconut milk or water

CHEESE CRISPIES
• 1/2 c. grated frozen buko (optional)
INGREDIENTS
Maja Blanca Cooking Instructions:
• 1 pound shredded Cheddar cheese

• 1 cup butter, softened • Boil thick coconut milk in a saucepan until

the oil is extracted and the precipitate
• 2 cups all-purpose flour
forms into a dark brown color. This is
• 2 cups crisp rice cereal
called latik. Drain the latik from the oil
• 1/2 teaspoon salt
and set aside.
• 2 dashes Worcestershire sauce
• Grease a 13-inch rectangular dish with
• 1 pinch garlic powder
coconut oil. Set aside. In a medium
• 1/4 teaspoon cayenne pepper
saucepan, blend rice flour, sugar,sweet
• freshly ground black pepper corn kernels, cornstarch, and fresh

DIRECTIONS coconut milk. Stir in grated buko (if used).

Boil over slow heat, stirring constantly to
1. Preheat oven to 350 degrees F (175 degrees C).
 prevent lumps, until mixture is clear for
about 3-5 minutes.
• Pour hot mixture into prepared dish and
allow to set. Sprinkle latik on top. Cool
before slicing.
• When rice flour is not available, soak 2
cups rice in 2 cups water overnight. Put
through blender and process until smooth.
• Allow the pads to dry out and cool down a
little so that they don’t turn the sugar into
a syrup when you roll it around in it.
• Sprikle with grated coconut and the
sesame seeds.
• Serve Cold.

Palitaw Ingredients:

• 1 cup Glutinous rice flour ( Malagkit Rice )

• 1/2 cup of water

• 1/2 kilo Brown Sugar

• Fresh grated coconut

• Toasted sesame seeds

Palitaw Cooking Instructions:

• Mix until the flour and water the two come

together to form a pliable ball of dough.
• Take a heaping tablespoon full of the
dough and roll it into a ball, then flatten it
into a pad shape with the palm of your
hand.
• Poach the Palitaw in simmering water until
they begin to float (about 30 seconds to 1
minute).

Preludes
The preludes are for several reasons very much related to the études of Op. 10 and Op. 25. While composing them, Chopin
had a conception similar to Bach with the Well Tempered Clavier: like his predecessor, Chopin put all preludes into an order
of tonalities, however with a difference; in the Well Tempered Clavier all tonalities rise chromatically, while Chopin put his
preludes into an order that follows the circle of tonalities. It is known that Chopin studied thoroughly the works of Bach
before writing his preludes. He admired a lot the perfection of form and harmony in Bach’s music. In spite of this example,
however, Chopin created something completely new. Originally the french word “prélude” means nothing more than
“introduction,” but in this form Chopin let the 24 preludes develop into independent pieces of music.
So much for the preludes. They are very beautiful and are worthy of the closest study and pains, not with a view of
perfecting any stereotyped manner of playing each one, but of discovering the various methods which may be employed to
bring out their beauty. Half the attraction of a beautiful woman lies in the various dresses she wears. She may be in blue to-
day, in grey to-morrow, and in pink the day after, and with every change she appears more beautiful. So it is with the
preludes. Each has a large wardrobe of different dresses. Do not, then, always dress them in the same colours.
- Vladimir de Pachmann
Chopin’s preludes are compositions of an order entirely apart. They are not only, as the title might make one think, pieces
destined to be played in the guise of introductions to other pieces; they are poetic preludes, analogous to those of a great
contemporary poet, who cradles the soul in golden dreams, and elevates it to the regions of the ideal.
- Franz Liszt (1841)

I would term the preludes strange. They are sketches, beginnings of études, or, so to speak, ruins, individual eagle pinions, all
disorder and wild confusions.
- Robert Schumann
Prelude in C Major, Op. 28 No. 1 — Agitato

This is an arabesque of the finest colours. Vladimir de Pachmann: “The first one is in a style that reminds one very forcibly
of Schumann.” Hans von Bulow called this prelude, Reunion. It was composed in Majorca in January 1839, published in 1839
and dedicated to Camille Pleyel and Johann Kessler.
Prelude in A Minor, Op. 28 No. 2 — LentoSome say this prelude was composed in Stuttgart. The Polish pianist Jan
Kleczynski (1837-1895) preferred to play the first prelude two times, and then skip this prelude, because he felt this
prelude was too bizarre to play. Vladimir de Pachmann: “The second is, I think, somewhat poor and I remember that Liszt
himself once told me that he thought it a little weak.” It was composed in Majorca, Nov/Dec of 1838 and published in 1839;
it is dedicated to Camille Pleyel. Hans von Bulow called this prelude, Presentiment of Death.
Prelude in G Major, Op. 28 No. 3 — VivaceThis work was composed between 1836 and 1839; it was finally published in
1839 and dedicated to Camille Pleyel. Vladimir de Pachmann: “The third, though it has not a very high meaning, is a delightful
little prelude. The melody is so smooth that it reminds me of oil floating on water, while a sort of zither accompaniment is
running.” Hans von Bulow called this prelude, Thou Art So Like a Flower.
Prelude in E Minor, Op. 28 No. 4 — LargoWalter Gieseking recommends pedalling during the opening of this prelude: “The
right-hand upbeat is very important. Pedal first on the second note and hold the same pedal into the first measure.” This
prelude was played by organ at Chopin’s funeral. Hans von Bulow called this prelude, Suffocation. It was composed in
Majorca, in November and December 1838 and published in 1839; it is dedicated to Camille Pleyel.
Prelude in D Major, Op. 28 No. 5 — Allegro molto Hans von Bulow called this prelude Uncertainty. It was composed
between 1836 and 1839 and published in 1839. It is dedicated to Camille Pleyel.
Prelude in B Minor, Op. 28 No. 6 — Lento assai Hans von Bulow called this prelude Tolling Bells. It was composed between
1836 and 1839 and finally published in 1839; it is dedicated to Camille Pleyel.
Prelude in A Major, Op. 28 No. 7 — Andantino Dencausse Federico Mompou (1893-1987) composed a Variaciones sobre un
tema di Chopin based on this prelude. Hans von Bulow called this prelude, The Polish Dancer. It was composed in 1836,
published in 1839 and dedicated to Camille Pleyel.
Prelude in F-sharp Minor, Op. 28 No. 8 — Molto agitato Some say this one was composed in Majorca during a
thunderstorm. Hans von Bulow called this prelude, Desperation. It was composed between 1836 and 1839, published in 1839
and dedicated to Camille Pleyel.
Prelude in E Major, Op. 28 No. 9 — Largo
This prelude uses 48 different chords! Hans von Bulow called this prelude, Vision. It was composed between 1836 and 1839
and published in 1839; it is dedicated to Camille Pleyel.
Prelude in C-sharp Minor, Op. 28 No. 10 — Allegro molto This work was composed in Majorca in November and
December of 1838. It was published in 1839 and dedicated to Camille Pleyel. It is a little cappricio. Vladimir de Pachmann: “In
the tenth Chopin seems to me to point at and imitate his master, Hummel.” Hans von Bulow called this prelude, The Night
Moth:A night moth is flying around the room there! It has suddenly hidden itself (the sustained G Sharp); only its wings
twitch a little. In a moment it takes flight anew and again settles down in darkness — its wings flutter (trill in the left hand).
This happens several times, but at the last, just as the wings begin to quiver again, the busybody who lives in the room aims a
stroke at the poor insect. It twitches once... and dies.
Prelude in B Major, Op. 28 No. 11 — Vivace Hans von Bulow called this prelude, The Dragon Fly. It was composed
between 1836 and 1839 and published in 1839. It is dedicated to Camille Pleyel.
Prelude in G-sharp Minor, Op. 28 No. 12 — Presto
This one could have been an etude as well. Hans von Bulow called this prelude, The Duel. It was composed between 1836 and
1839, published in 1839 and dedicated to Camille Pleyel.
Prelude in F-sharp Major, Op. 28 No. 13 — Lento Hans von Bulow called this prelude, Loss. It was composed between
1836 and 1839, published in 1839 and dedicated to Camille Pleyel.
Prelude in E-flat Minor, Op. 28 No. 14 — Allegro
Hans von Bulow called this prelude, Fear. Composed between 1836 and 1839 and published in 1839, it is dedicated to Camille
Pleyel.

This is a torturous, frustrated piece. It wants to go in a certain direction, starting as if to go forwards. Then it falters and
falls back. It is a very chromatic work, alternating between minor and major. At the end you fall on the tonic without a
preceding dominant. You are here but have no solution. This is the atmosphere I find; therefore I don’t play it quickly
because I would lose this torturous, frustrated, faltering, contradictory quality.
- Tamas Vasary

Prelude in D-flat Major, Op. 28 No. 15 — Sostenuto

This work was composed between 1836 and 1839, published in 1839 and dedicated to Camille Pleyel. Hans von Bulow called
this prelude, Raindrop.

There is one that came to him through an evening of dismal rain—it casts the soul into a terrible dejection. Maurice and I
had left him in good health one morning to go shopping in Palma for things we needed at our “encampment.” The rain came in
overflowing torrents. We made three leagues in six hours, only to return in the middle of a flood. We got back in absolute
dark, shoeless, having been abandoned by our driver to cross unheard of perils. We hurried, knowing how our sick one would
worry. Indeed he had, but now was as though congealed in a kind of quiet desperation, and, weeping, he was playing his
wonderful prelude. Seeing us come in, he got up with a cry, then said with a bewildered air and a strange tone, “Ah, I was
sure that you were dead.” When he recovered his spirits and saw the state we were in, he was ill, picturing the dangers we
had been through, but he confessed to me that while waiting for us he had seen it all in a dream, and no longer distinguishing
the dream from reality, he became calm and drowsy. While playing the piano, persuaded that he was dead himself, he saw
himself drown in a lake. Heavy drops of icy water fell in a regular rhythm on his breast, and when I made him listen to the
sound of the drops of water indeed falling in rhythm on the roof, he denied having heard it. He was even angry that I should
interpret this in terms of imitative sounds. He protested with all his might—and he was right to—against the childishness of
such aural imitations. His genius was filled with the mysterious sounds of nature, but transformed into sublime equivalents in
musical thought, and not through slavish imitation of the actual external sounds. His composition of that night was surely
filled with raindrops, resounding clearly on the tiles of the Charterhouse, but it had been transformed in his imagination and
in his song into tears falling upon his heart from the sky.
- George Sand

Sand does not specify the key or number of the prelude written on this occasion, and, although the D-flat major prelude is
usually given the informal title, Raindrop, the story could in fact apply to any of the melancholy preludes with a repetitive
figure (A minor, E minor, B minor, as well as D-flat major).
Prelude in B-flat Minor, Op. 28 No. 16 — Presto con fuoco If one plays this prelude in the desired whirlwind tempo,
presto con fuoco, one will find that the prime difficulty of this prelude is not the obvious difficulty of the right-hand 16th
notes, but the follow-through motion required to play the three-note left-hand groups all in one sweep.The sixteenth is my
great favorite! It is la plus grande tour de force in Chopin. It is the most difficult of all the preludes technically, possibly
excepting the nineteenth. In this case, presto is not enough. It should be played prestissimo, or, better still, vivacissimo.
- Vladimir De Pachmann

Hans von Bulow called this prelude, Hades. It was composed between 1836 and 1839, published in 1839 and dedicated to
Camille Pleyel.
Prelude in A-flat Major, Op. 28 No. 17 — Allegretto

This piece is a little romance, in which Chopin introduces some harmonies not previously found in other compositions. This one
was the favorite of Clara Schumann and Anton Rubinstein. Hans von Bulow called this prelude, A Scene on the Place de
Notre-Dame de Paris. It was composed in 1836, published in 1839 and dedicated to Camille Pleyel.
Prelude in F Minor, Op. 28 No. 18 — Allegro molto
Hans von Bulow called this prelude, Suicide. It was composed between 1836 and 1839, published in 1839 and dedicated to
Camille Pleyel.

Prelude in E-flat Major, Op. 28 No. 19 — Vivace

Hans von Bulow called this prelude, Heartfelt Happiness. It was composed between 1836 and 1839, published in 1839 and
dedicated to Camille Pleyel.

Prelude in C Minor, Op. 28 No. 20 — Largo

Composed between 1836-1839, published in 1839, dedicated to Camille Pleyel. Chopin originally ended this piece at bar 9.
Based on this prelude, Rachmanninov composed his Variations on a Theme of Chopin. These variations scare off even the best
of pianists—they last more than a half of an hour and they are both technically and musically demanding. Hans von Bulow
called this prelude, Funeral March.

Prelude in B-flat Major, Op. 28 No. 21 — Cantabile

This work was composed in Majorca, in November and December of 1838. It was published in 1839 and dedicated to Camille
Pleyel. Hans von Bulow called it, Sunday.

Prelude in G Minor, Op. 28 No. 22 — Molto agitato

Hans von Bulow called this prelude, Impatience. It was composed between 1836 and 1839. It was published in 1839,
dedicated to Camille Pleyel. Vladimir de Pachmann: “In the twenty-second Prelude, Chopin created energetic modern octave
play. It was the first prelude of its kind in the world.”

Prelude in F Major, Op. 28 No. 23 — Moderato

Hans von Bulow called this prelude, A Pleasure Boat. Vladimir de Pachmann: “In the twenty-third Prelude pretty well all the
editions indicate short legato passages. Chopin never played such passages. He sometimes introduced a long legato passage,
but never short ones of a few notes only.” It was composed between 1836 and 1839. It was published in 1839 and dedicated
to Camille Pleyel.

Prelude in D Minor, Op. 28 No. 24 — Allegro appassionato

Vladimir de Pachmann: “In the twenty-fourth the amateur would do well to remember that the whole beauty of this prelude
is generally spoilt by the left-hand notes being banged. These should be masked the whole time and should never be allowed
to drown the right hand.” Hans von Bulow called this prelude, The Storm. It was composed between 1836 and 1839. It was
published in 1839 and dedicated to Camille Pleyel.

Prelude in C-sharp Minor, Op. 45

Op. 45 is the twenty-fifth prelude with widely extending basses and shifting harmonic hues. It is a bit dark and elegiac but
pinpricked with more hopeful excerpts, though still ultimately sorrowful.
Nocturnes
The nocturne is generally credited to John Field, an Irish composer and pianist, who published his first three nocturnes in
1814. These romantic character pieces are written in a somewhat melancholy style, with an expressive, dreamy melody over
broken-chord accompaniment. The majority of Chopin’s nocturnes adopt a simple A-B-A form. The A part is usually in a
dreamy bel canto style, whereas the B part is of a more dramatic content. In distinction of melody, wealth of harmony and
originality of piano style, Chopin’s nocturnes leave Field’s far behind. The similarity of Chopin’s nocturnes to Bellini’s
cavatinas (such as Casta diva from Norma) has often been noticed, though there is little evidence of direct influence in
either direction.

We have seen the shy, serenely tender emotions which Field charged them to interpret, supplanted by strange and foreign
effects. Only one genius possessed himself of this style, lending to it all the movement and ardour of which it was
susceptible. Chopin, in his poetic Nocturnes, sang not only the harmonies which are the source of our most ineffable delights,
but likewise the restless, agitating bewilderment to which they often give rise.
- Franz Liszt
Nocturne in B-flat Minor, Op. 9 No. 1 — Larghetto
The first of Chopin’s works to be published in France, Germany and England were these nocturnes (Op. 9), which appeared
over the period of December 1832 to June 1833. They were composed—in part—in Vienna and completed in Paris. This first
work immediately confirms the character of the nocturne. The irregularity of the rhythmic patterns is one aspect of
Chopin’s style of ornamentation that continues to find varied expression in later works such as Op. 27 No. 2. This piece was
composed in 1830/1832 and published in 1832/1833; it is dedicated to Marie Pleyel, the wife of publisher and virtuoso
pianist Camille Pleyel.

Nocturne in E-flat Major, Op. 9 No. 2 — Andante

This nocturne resembles the style of Field’s Nocturne No. 9 in the same key. The left hand figuration is similar, and both
have cadenza-like passages toward the end. This is Chopin’s most famous nocturnes. It was composed in 1830/1832 and
published in 1833; it is also dedicated to Marie Pleyel.

Nocturne in B Major, Op. 9 No. 3 — Allegretto

This nocturne is obscure and rarely performed. It is an exercise in lyricism and delicacy. Its development is paradoxical in
its torrential gracefulness. It was composed in 1830/1832 and published in 1833; it is also dedicated to Marie Pleyel, a lovely
pianist of the period.

Nocturne in F Major, Op. 15 No. 1 — Andante Cantabile

The introduction of this night piece is calm and serene. This peace is followed by a stormy F minor central section, which
purges sudden doubts and worries. A recapitulation follows, appeasing the anxiety and restoring the tranquility. It was
composed in 1830/31 and published in 1833/34; it is dedicated to Ferdinand Hiller, a German composer, conductor and music
director.

Nocturne in F-sharp Major, Op. 15 No. 2 — Larghetto

Although this Nocturne is fairly popular, this song is not so well known as the very famous nocturne in E-flat major. It has
many more technical difficulties and requires more technique and a greater range of dynamics. Arthur Hedley said this
nocturne was composed in 1832, after Chopin’s arrival in Paris. It was composed in 1830/31 and published in 1833/34; it is
also dedicated to Ferdinand Hiller.

Nocturne in G Minor, Op. 15 No. 3 — Lento

In this Nocturne it is the irregularity and unpredictability of the phrasing that demands attention. It is wistful in its outer
sections, with a hymn-like passage at its heart, marked religioso. To enhance the purity of this passage, Chopin deliberately
refrained from using the sustaining pedal. The expected return to the opening, however, is replaced by a new idea, also
somewhat modal in character. This seems to approach a cadence in D minor, but the concluding chords bring the music back
to G, with an archaic 4-3 suspension and Picardy 3rd.

It is doubtful whether any consistent example of such harmony can be found of earlier date unless the third movement, “in
the Lydian mode”, of Beethoven’s string quartet (Op. 132) is included.

A story goes that Chopin, upon seeing Hamlet, composed this nocturne and named it, On the Graveyard. After being asked
later the reason for which he did not publish this title, Chopin answered: “Let them guess...”. This work was composed in 1833
and published in 1833/34; it is dedicated to Ferdinand Hiller.

Nocturne in C-sharp Minor, Op. 27 No. 1 — Larghetto

This nocturne was composed in 1834/35 and published in 1836; it is dedicated to Countess d’Apponyi. It is also known as: “Les
plaintives”. It is clouded in a dark atmosphere, full of suspense and inner tension. The middle part is leading into a more
triumphant mood, as the chordal section expands a moment of temporary glory. Niecks, an important Chopin biographer,
considers these nocturnes (Op. 27) the best.
Nocturne in D-flat Major, Op. 27 No. 2 — Lento sostenuto
This Nocturne begins with a serene melody of hypnotic beauty, floating over a sea of D-flat major harmony. Its development
heightens the sense of drama, and the piece closes in waves of melting nostalgia. It is indeed supreme in its class of Parisian
salon pieces, if not more. It was composed in 1834/35 and published in 1836; it is dedicated to Countess d’Apponyi.

Nocturne in B Major, Op. 32 No. 1 — Andantino sostenuto

Artur Rubinstein had always ended this nocturne in major: “In the Debussy edition of Chopin, which I like, the B major
nocturne ends with a major chord. In Chopin one shouldn’t discuss such things. Chopin changed his works constantly. [...] I
play the major chord because the minor chord weakens the ending: it weakens the whole theme.” Chopin composed this work
in 1836/37 and published it in 1837; it is dedicated to Madame la Baronne de Billing.
Nocturne in A-flat Major, Op. 32 No. 2 — Lento

Compared with previous nocturnes, the tempo in the middle section remains the same and only the figuration changes. The
degree in contrast is thereby reduced. It is a beautiful work of dreamy melody and majestic harmony. This nocturne was
composed in 1836/37 and published in 1837; it is dedicated to Madame la Baronne de Billing.

Nocturne in G Minor, Op. 37 No. 1 — Andante sostenuto

Also known as Les soupirs, this nocturne is not technically demanding. The middle section is a strange chorale-like intermezzo
in plain chordal writing. It was composed in 1838/39 and published in 1840.

Nocturne in G Major, Op. 37 No. 2 — Andantino

The elegant theme, in parallel thirds and sexts, is presented in a surprising variety of keys, so that little sense of overall
tonality remains. The middle section is a peaceful lullaby. It was composed just a few weeks after arriving at Nohant, in July
of 1939. It was published in 1840.

Guiomar Novaes said: “I find in those nocturnes that you emphasize reflection, nostalgia, serenity, and a certain deep
feeling.”

Nocturne in C Minor, Op. 48 No. 1 — Lento

This one reaches beyond the accepted domain of the nocturne: its virtuoso piano writing is reminiscent of the ballades.
Robert Schumann reviewed both nocturnes of opus 48, but his admiration was tinged with certain reservations. This piece
was composed in October 1841 and published in 1841/42; it is dedicated to Laura Duperre.

Nocturne in F-sharp Minor, Op. 48 No. 2 — Andantino

A seemingly endless melody is played with restless triplets in the left hand. It was composed in October 1841 and published
in 1841/42; it is dedicated to Laura Duperre.

Nocturne in F Minor, Op. 55 No. 1 — Andante

These nocturnes of opus 55 were not greeted by the superlatives that the early nocturnes attracted. Guiomar Novaes: "You
play the second notes of the basses a little staccato, letting the pedal up. Rubinstein holds the pedal for each two bass
notes." This work was composed in October 1843 and published in 1844; it is dedicated to Jane Stirling, a devoted pupil.

Nocturne in E-flat Major, Op. 55 No. 2 — Lento

This nocturne lies at the apogee of its form. It is an application of the greatest depth, containing a melody of infinite
natural quality. Its development and flow are breathtaking. This nocturne was composed in October 1843 and published in
1844; it is dedicated to Jane Stirling, a devoted pupil.

Nocturne in B Major, Op. 62 No. 1 — Andante

A work of elaborate ornamentation and elementary simplicity, this piece suits the definition of charm. It is demanding in
terms of both technique and musicality. For Kleczynski the nocturnes of opus 62 were evidence of an enfeebled creative
power. Niecks, however, considers these nocturnes “not worth dwelling upon.” It was composed in October 1846 and
published in 1846; it is dedicated to Mademoiselle R. de Konneritz.
Nocturne in E Major, Op. 62 No. 2 — Lento
This work was composed in October 1846, and it is the last nocturne that Chopin published during his life (in 1846). He
dedicated it to Mademoiselle R. de Konneritz. Leichtentritt described it as “lacking the features of great artistry.”

Nocturne in E Minor, Op. 72 No. 1 (posth.) — Andante

This nocturne lies clearly within the Field tradition. Its haunting melody rides the harmony of a most macabre scale. It was
composed in 1827 and published in 1855. Chopin dedicated it to Mademoiselle R. de Konneritz.

Nocturne in C-sharp Minor (posth.) — Lento con gran espressione

This nocturne uses themes from the F minor concerto (Op. 21). Tamas Vasary: “If you didn’t know about the reminiscence,
you would still have the impression that both works live in the same emotional climate.”

Orazio Frugoni suggested to a student having trouble with this nocturne that she spend some time at night by the cathedral
in Siena: “Yes it’s very romantic. As human beings we get these impressions that feed our creativity; if not we simply
shouldn’t be artists.” This work was composed in the spring of 1830 and published in 1875.

Nocturne in C Minor
This nocturne was published in 1938 (TWMP, Warsaw) together with the E-flat minor Largo (BI109). It was composed in
1837 and published in 1938.

Chopin’s Works
Chopin composed chiefly for solo piano. A few exceptions include the piano concerti and the Andante spianato et Grande
Polonaise in E-flat major (Op. 22), for which he composed orchestral accompaniments. In these cases, the piano is still the
star, but its music is introduced and supported with help from the orchestra.

Chopin composed music from a variety of types. Some of his works are love songs (ballades), while others are night songs
(nocturnes). Others are Polish dances (polonaises and mazurkas), while others follow more traditional structures (sonatas,
scherzi and concerti) with a romantic touch. The majority of his music is discussed on this site. In order to find a specific
piece, select a category below or use the search field in the header.