The second melody cannot sound as dreamy as when it has been first introduced to a listener. Not after that existing controversy between two melodies in the Ballade. By section six (7:18) Chopin’s dreams are broken. The first melody comes back broken to become finale. The last part’s also the most dramatic one. Dynamic has never been less stable, there’re very long intervals between extremely low and extremely high pitches of phrases, sometimes dissonant. Ballade’s final sounds like a hysteric until the very last “words” when Chopin employees the same mediums of expression used at the beginning of the Ballade, including attacking performance and loud sounds with long intervals, and overtones. 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.
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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