Nocturnes: Five Stories of Music and Nightfall

Kazuo Ishiguro

47 pages 1-hour read

Kazuo Ishiguro

Nocturnes: Five Stories of Music and Nightfall

Fiction | Short Story Collection | Adult | Published in 2009

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Story 5Chapter Summaries & Analyses

Content Warning: This section of the guide includes discussion of racism and mental illness.

Story 5 Summary: “Cellists”

The narrator, a saxophonist in a restaurant band, spots Tibor, a cellist he met seven years ago. The narrator and Fabian are the only two remaining from that summer’s lineup. The narrator recalls how Tibor was involved with an American woman.


When Tibor, a thin Hungarian cellist with unfashionable spectacles, first appeared in the piazza, the band befriended him and learned he had studied at the Royal Academy in London and then under Oleg Petrovic in Vienna. Though highly trained, Tibor was struggling financially, so Giancarlo and Ernesto, members of the narrator’s band, arranged for him to audition for Mr. Kaufmann, a man with hotel industry connections. Tibor performed in the café’s back room and was grateful for the opportunity.


An American woman named Eloise McCormack approached Tibor after a recital, claiming to be a talented cellist, and told him he had potential but was not on the correct path. When Tibor proudly mentioned studying under Petrovic, she cast doubt on Petrovic’s talents. Though initially furious, Tibor was disturbed because her words echoed his private doubts. She told him to visit her at the Excelsior Hotel.


Three days later, Tibor went to the hotel, called her room, and returned an hour later with his cello. In her suite, he played for an hour while she listened silently. Afterward, she said they could work through his problems together. Their daily sessions began. Her abstract verbal critiques improved his playing, making him feel as though he had accessed a new level of musical understanding.


As summer progressed, Tibor noticed that Eloise had no cello in her suite, which made him suspicious. He pushed these doubts aside because their sessions were transforming his music. As they spent more time together, the band started speculating about their relationship.


One afternoon, Eloise told Tibor about Peter Henderson, a man in Oregon who wanted to marry her. She confessed she was hiding from him in Italy. When Tibor asked if Peter appreciated music, she described him as a music lover but stressed that living with a virtuoso is challenging, warning Tibor that he would experience the same issues.


The unspoken issue of Eloise’s playing created growing tension. Once, when critiquing a passage, she offered to demonstrate on his cello, but Tibor deflected, claiming her verbal guidance was more valuable than imitation.


In late September, Mr. Kaufmann offered Tibor a position in an Amsterdam hotel. Tibor questioned whether the position was suitable for someone of his caliber, which angered Giancarlo. The band concluded that Eloise had made Tibor arrogant. Tibor asked for three days to decide but kept the offer secret from Eloise.


At their next session, Eloise revealed that, while she considered herself a virtuoso, she had not played the cello since age 11. She stopped to protect her innate gift from mediocre teachers who would damage it. She believed she and Tibor shared the same rare gift and had to help each other.


Stunned, Tibor ended the session early and told her he was taking a short countryside holiday. After leaving, he made travel arrangements and then told Giancarlo he would accept the Amsterdam job after his vacation.


When Tibor returned a week later, he was relieved to find Eloise still there and the tension between them gone. Their sessions resumed with renewed energy. Four days after his return, mishaps made him late. He arrived in the evening to find that Peter Henderson had located Eloise. Peter was friendly and asked Tibor to play, but Eloise intervened, saying they had a dinner reservation.


Outside the hotel, Eloise told Tibor that she would return to America and marry Peter. Tibor revealed that he was taking the Amsterdam hotel job. He saw a brief flicker in her eyes before she wished him luck and returned to the hotel. Tibor left the city soon afterward and thanked the band for their help, though they sensed he was disappointed. 


In the present, the narrator sees that Tibor has gained weight and carries an air of impatience and perhaps bitterness. The narrator speculates he may have a desk job and is passing through on business, resolving to talk to Tibor if he sees him again.

Story 5 Analysis

The story explores the conflict between artistic purity and commercial survival, a tension embodied in the trajectory of the young cellist, Tibor. Initially presented as a gifted but struggling musician, Tibor has an encounter with Eloise McCormack that pulls him toward an ideal of artistic purity. Under her influence, he begins to see practical jobs as beneath him, adopting an arrogance that alienates his friends. Eloise’s philosophy posits that true talent must be protected from the corrupting influence of commerce and even formal training. Tibor’s eventual acceptance of the Amsterdam hotel position marks his retreat from this ideal and a capitulation to reality, sparked by the realization that Eloise, to protect her “talent,” does not play the cello at all. In contrast, the narrator and his bandmates represent a sustainable middle ground. As working musicians who play populist requests like “The Godfather theme” (189), they have reconciled their art with the demands of the marketplace.


Eloise McCormack personifies the theme of Performance as a Mask for Vulnerability, constructing an identity as a musical authority in order to conceal her deep fear of mediocrity. Her mentorship of Tibor is therefore merely a performance; she offers nothing more than abstract, verbal critiques and never plays the cello herself. Her claim that she has not played since age 11, seeing this choice as a way to “protect [her] gift” from inferior teachers (213), is a rationalization for her lifelong failure to pursue her passion for music. This self-created mythology functions as a psychological fortress, preserving the fantasy of her unrealized talent by shielding it from any real-world test. By choosing never to reveal her gift, she ensures that it can never be judged as inadequate. Her mentorship of Tibor is therefore a projection of her own frustrated ambition, for in shaping him, she vicariously engages with the world of performance that she is too afraid to enter herself. She becomes a critic, a role that grants her authority without risk.


This dynamic of risk and avoidance saturates the story with The Melancholy of Unfulfilled Potential, rendering Eloise a tragic figure: a woman whose life is governed by the worship of a potential she will never realize. Her fear has paralyzed her, and this paralysis proves contagious; she nearly infects Tibor with a similar disdain for the practical business of building a career, which threatens to derail his own future. Notably, the story’s frame structure amplifies this melancholy, for it begins and ends in the present, with the narrator’s glimpse of a middle-aged Tibor, who carries “the off-handedness that comes with a certain kind of bitterness” (221). This final image retroactively casts a pall over the memories of that formative summer, suggesting that the potential Tibor showed merely soured into disappointment. The narrative itself, a memory of fleeting camaraderie and youthful dreams, thus becomes an elegy for what might have been.


By featuring a flashback contained within a present-day frame and opening with the narrator’s recognition of a changed Tibor, the author establishes a sense of loss and the passage of time, stressing that the passionate, promising young artist of the past has become a different, diminished man. This knowledge colors the entire flashback, lending a sense of futility and pathos to Tibor’s intense sessions with Eloise and his debates about his future. Through this strategic narrative framing, the bright hope of that summer is darkened by the somber filter of its eventual outcome. This technique emphasizes the subjectivity of memory and examines the gap between aspiration and reality, for the past is presented as a story and subsequently reinterpreted from a distance, its significance shaped by the knowledge of what came after.

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