"Paleoanthropologists state that the first colour ever was black, the black of night and of the darkness of caverns. According to the Book of Genesis, darkness existed before the Light created by God through his Word. All the same, in a mother’s womb, darkness and silence exist prior to the lightness of day and the sounds of the world in the order of our lives. Nevertheless, from them –that is to say, from prenatal darkness and silence– emanates a primordial music, as thick and vast as amniotic liquid. This early music, abyssal and unfathomable, is the music of the Night. Prior to any reasoning and to every significant word, night music is –as the poet would say– made of the stuff dreams are made of. Of feelings still unarticulated, of ancestral premonitions and memories, which only music is able to convey. Since the end of the 18th century, Romanticism made this music become its first obsession and aim. 

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For over 200 years, poets such as Young or Novalis, musicians such as Schubert or Chopin, painters such as Friedrich or Turner, or even thinkers and philosophers such as Schopenhauer or Nietzsche, tenaciously followed the echoes of this often chaotic music, on the edge of disarticulation and silence, be it in poems in prose, in the nocturne genre or in the renaissance of Greek tragedy. From Field to Britten, going through Debussy, Schönberg or Mompou, the history of music in the 19th and 20th centuries is mostly the history of those pieces of music that wish to recreate that Night everything comes from: night music."

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Extract from the text written by Eduard Cairol for the booklet of the CD ‘Nocturnes per a piano’