Due to this dramatic, a listener’s left with a controversial feeling disables to take away the pain. Though every listener has the individual understanding of the musical piece, the end of this Ballade is definitely awaking negative emotional state no matter how substandard one’s perception might be. According to Samson, a form of the composition helps Chopin to convey dramatics. Ballade No. 1 rests on a sonata from tradition, “where variations and transformations are seminal functions” for two themes with “contrasted rhythmic profile” (Samson, 8). This form was fully developed by compositors of Classic era, and Samson points that despite in Ballade No. 1 Chopin makes his first steps away from a post-classical music, there’re still borrowings (Samson 2). There's a statement of themes, a transformation of themes and resolution which are basic sonata form components (Bjorling 22). Yet Chopin’s innovations are strong too. Romantic era’s coming creating a fashion on intimate dramas, and “feeling the climate” Chopin’s developing own view on Romanticism (Samson 4). It’s firstly notable due to a ballad form. Chopin’s ballades have “a peculiar form” and “Chopin’s conception of the genre isn’t easy to understand” because Chopin wasn’t developing a romantic canon, but was discovering himself through the music. The Nineteenth-Century Piano Ballade.
Bjorling, David. Chopin and the G minor Ballade. Lulea Tekniska Universitet, 2002.Web. 07 June 2015. <http://epubl.luth.se/1402-1552/2002/01/LTU-DUPP-0201-SE.pdf>
Huneker, James. Chopin: the Man and His Music. BiblioBazaar, 2006.
Parakilas, James (Ed.). The Nineteenth-Century Piano Ballade: An Antology, Vol. 9. A-R Editions Inc., 1990.
Randel, Don Michael. The Harvard Dictionary of Music. Harvard University Press, 2003.
Samson, Jim. Chopin: The Four Ballades. Cambridge University Press, 1992.
Sissco. “Zimerman plays Chopin Ballade No. 1”. YouTube. 10 May 2006. Web. 07 June 2015. <https://www.youtube.com/watch?v=RR7eUSFsn28>
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