Chopin: The Four Ballades (Cambridge Music Handbooks)
Jim Samson
Language: English
Pages: 116
ISBN: 0521384613
Format: PDF / Kindle (mobi) / ePub
Chopin's four ballades are widely regarded as being among the most significant extended works for solo piano of the nineteenth century. In an illuminating discussion, Jim Samson combines history and analysis to provide a comprehensive picture of these popular piano works, investigating the social and musical background to Chopin's music, evaluating the many printed editions of the ballads before considering their critical reception and the differing interpretations of well-known nineteenth- and twentieth-century pianists.
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the offices of a countermelody in constant semiquaver movement. As before, the variation reaches a subdominant region (Bl> minor), established through its dominant. The non-thematic arc of figuration (72-80) characteristically defers a tonic resolution, however, acting as a 'transition' which can absorb the head of tension built up by the variation in preparation for the B» major of Theme II (bar 80). At this point the several tendencies to the subdominant region are fully realised. Generically
congruent with formal models such as sonata form), I will explore some implications of Newcomb's approach by way of a return to the question of norms and deviations. In addition to (and related to) their expressive potential, deviations from conventional models have a direct bearing on our perception of the temporal succession of musical ideas. Such deviations become in a sense special 'events', in that they modify the implied succession and are at the same time interpreted in relation to that
Schirmer inc., 28 Schlesinger, A. M., 26 Schlesinger, M., 20-2, 24, 26-7, 35 Schoenberg, A., 77 Scholtz, H., 29-30 Schonenberger, G., 26-7, Schott, B. Sohne, 30 Schubert, F., 11, 17, 78 Schumann, C , 39 Schumann, R., 11-13, 16, 23, 34, 35, 53, 87 Shakespeare, W., 12 Shaw, G. B., 37 Sliwinski, J., 39 Sofronitsky, V., 39 Solomon, 42 Stark, L., 39 Tarasti, E., 82 Tausig, C , 39 Tellefsen, T., 26-7, 30 Troupenas & Cie., 23, 26 Turczyhski, J., 30 Universal Edition, 30 Wagner, R., 36, 55 Weber, C. M.
brilliant style and the classical sonata-form archetype. In relation to this the First Scherzo leans towards the brilliant style and the First Ballade towards the sonata principle. Later pieces in both genres allow for some interpenetration of schemata, but they preserve the basic difference in orientation established in the two pioneering works. There was of course a major shift in style between the sonata-form elements of Chopin's Warsaw-period works (especially the Op. 4 Sonata and the Piano
popular genres. The pivotal episode in B major at bar 138 is the most obvious point at which a popular genre emerges into the foreground of the Ballade. With its arcshaped moto perpetuo arabesques this episode immediately invokes the characteristic phraseology of the Chopin waltz, a phraseology which had been defined in Op. 18, the first of the Taris' waltzes (also in B major), and would later be confirmed in the Three Waltzes Op. 34. The affinity is obvious even in an informal inspection (Ex.
