FREDERIC CHOPIN - BALLADE IN G MINOR, OPUS 23

INTRODUCTION

I will be analyzing Frederic Chopin's Ballade in G Minor, Opus 23. It's composition began in Vienna and was completed in Paris in 1836. It is the first of Chopin's four legendary piano ballads, a musical style that he pioneered. The Ballade was a dedication to Chopin's long-time friend Monsieur le Baron de Stockhausen, the Hanoverian ambassador to France. 

The 1830's were quite hectic for Chopin, beginning with his emigration to Paris from his native Poland at the start of the decade. The year 1835 featured a shattered marriage proposal and the beginning of Chopin's nasty illnesses. Although a clear-cut inspiration behind the first Ballade is not known, I suspect that an outpouring of emotion in the wake of such traumatic events drove Chopin to compose this fiery masterpiece. 

The ballade exemplifies Chopin's distinct ability to display a rollercoaster of gut-wrenching emotion through his lyrical prowess. All of Chopin's ballades seem to have steep transformations, moving from bright themes to dark fury in a matter of seconds. 

German composer Robert Schumann wrote, "I recieved a new Ballade from Chopin. It seems to be a work closest to his genius, and I told him that I like it best of all his compositions." To put it bluntly, Chopin was a composer on steroids. When the right nerve was hit, Chopin spazzed out with some of the most complex, unbelievable material I've ever heard.

THE FIRST THEME

Although the piece is mainly in 6/4, the introduction of the piece is composed in 4/4. The first seven measures begin with a soothing ascent that hits four-octaves of the note C, followed by a graceful descent into the piece's key of G-Minor. It is here at the beginning of the eighth measure where the first theme begins. 

A rhythm of 6/4 is now firmly in place, giving the piece a waltz-like feel. Measures 9 - 31 contain classic waltz rhythms, featuring single notes on the down beats and chords on the ensuing off-beats. As the emotion begins to pick up, Chopin continues to add energy to the quick bassline, complementing it with rich chords in the soprano. 

He continues to build the energy with a phenomenal 30-note embellishment in the tenor at measure 33. Never have I seen so many powerful notes packed into one small measure. The calm before the storm enters at measure 36 (marked 'a tiempo'), as a short-lasting softness enters into the piece with the usage of two-note slurs in the bass. Not for long! 

At measure 40 (marked 'agitato'), the tempo and energy drastically pick up. Chopin's inner madness has begun to spill out onto the page. The piece seems to lose structure, as the pace furiously increases. The downbeats in measures 58 - 62 are heavily accented, throwing jarring jabs at the audience. Each jab seems to trigger a whirlwind of notes in the tenor, adding more angst and confusion to the piece. 

A sense of calmness and relief enters at measure 63 and 64 (marked 'calando' and 'smorzando' respectively), halting the breaks on Chopin's previous outburst. Measures 65 - 67 feature repeating inversions (F-C --> C-F, etc.) that provide a smooth, calm transition into the second theme of the piece. 

THE SECOND THEME

The second theme of the Ballade begins at measure 68. The  For starters, Chopin has shifted into the key of Eb minor. The second theme has a softer, more emotional type of sound. In the first ten measures of the second theme, rolling arpeggios in the bass countered against the pianissimo in the tenor provide a smooth and calm feeling. As the theme progresses, Chopin's composition seems to invoke feelings of intimacy and longing. A transition is ready to take place at measure 94.

RECAPITULATION (A SHORT RETURN TO THE FIRST THEME)

Measure 94 brings about a return to the first theme, but this time in the key of A minor. The repetition of the low E in the bass provides a heightened level of tension. Once again, over the span of 12 measures, Chopin is able to continuously raise the level of tension and emotion with his usage of accents and crescendos. The mounting emotion finally bursts in Measure 106.

RECAPITULATION (A RETURN TO THE SECOND THEME)

Measure 107 brings about a return to the second theme. Instead of a calm and relaxed sound, Chopin implements a more royal, vibrant sound in these measures. The rise of emotion has erupted into a majestic and grand sound. Chopin is all about chromaticism in these measures, as it is evident throughout this return (measures 119 - 121, 136-137, etc.). 

Fortissimo is used throughout. The piece is getting extremely complicated and complex at this point. Chopin uses chords and embellishments that I cannot decipher at such high speeds. To me, that is what makes him such a unique, daring composer. 

Starting at measure 126, the bass is almost absent, while the tenor becomes simpler again. This leaves audiences curious and attentive, always wondering what will eventually come. Chopin throws in moments of excitement, but quickly quashes them with waves of calmness. The piece is one twisting rollercoaster of emotion. 

Finally, emotions start to rise up yet again. This time, the bass starts to get more and more action (arpeggios), while the tenor takes a back seat. This might be the one wave that rides right into the coda!

BACK TO THE FIRST THEME - ONE LAST TIME

The piece returns to the first theme yet again for a short 14 measures before the coda. Pianissimo is used to provide some movement right before the climax. The generic waltz rhythm is used for a bunch of measures before things start to really escalate. Finally, the Coda is here.

THE CODA

In my opinion, the coda is the most interesting part of this Ballade. Some of the notation is out of this world! The fury, the rage, the conflict, the power: every single human emotion can be felt during the coda. Beginning on measure 208, the coda feels like I'm standing in the middle of a war-zone. Chopin must have really lost control of his thoughts and emotions while he was composing this segment of the Ballade. 

From what I can decipher, the coda has little correlation with the previous parts of the Ballade. Near the finale (measure 251), Chopin scans between three and four octaves simultaneously with both hands (at fortissimo, none the less). The last ten measures probably touch every chromatic within a four-octave range. At least the ending provides great resolution, as the piece ends with three solid I chords.

THE NEOPOLITAN CHORD IN THE BALLADE

The Neopolitan chord is used four times during the coda, in measure 216, 218, 220, and 224.

- 216 - 219  =  i, N6, V7, i, N6, V7, I

- 220 - 224 = vii full dim.7/iv , N6, vii full dim.65/iv , N6, vii full dim.7, i, ii half dim.65, V7, i

IF Chopin had replaced the N6 with another chord, a lot of emotion and power would definitely have been lost. The chords in measures 220 - 224 are even more shocking because they are not really expected to be there. Most people would expect a iv after a vii full dim.7/iv. However, Chopin inserted a Neopolitan chord, providing a noticeable difference to the piece. He keeps the piece full of suspense, and delays the resolution to increase the effectiveness of his composition.

CONCLUSION

Normally, with any type of theory assignment, I pick the easiest piece available. This time, I wanted to be daring and pick something that would be ridiculously hard for my standards. This piece is extremely complex and unique in its composition. The wave of emotions is ridiculous - it went from the highest of highest to the darkest place on Earth. One single piece was able to expose so many different emotions. Who knew there could be such beauty through chaos?

WORKS CITED

www.wikipedia.com

www.lafolia.com

www.ourchopin.com

www.pianosociety.com

www.youtube.com