Chopin Ballades 2, 4, and Sonata No. 3

Ballade No. 2, Op. 38

This ballade for me is all about reconciliation of opposites. The beginning hymn tune is a lovely and unexpected start to this work. Chopin borrows a little trick from Franz Liszt with his use of a mystical arpeggio as transitional material to a far removed section. The second section is all about passion and intensity. There really is not any hard evidence of a tangible melody, but rather an implied one created by the torrent of rushing sounds. In the agitato section Chopin utilizes the technique of repeated chords as a vehicle for extreme conflict. In all reality this figuration probably originated with the infamous first movement chords from Beethoven’s Les Adieux sonata. His choice to end this with the slow style of the beginning serves to bring this story to a cyclic close.

Ballade No. 4, Op. 52

Chopin’s use of an introduction is interesting here. The intro carries with it a melody that could have functioned perfectly as a 1st theme, however Chopin inserts a furmata at its end and carries on with a totally new idea. The 1st theme lasts a good while and takes on a few characteristics of a variation style while intensifies towards the next section. We come briefly to another hymn tune much like the 1st ballade. We then reach some transitional material made up of elements of theme 1. Throughout the third section we encounter a tremendous collection of virtuosic accompaniments designed to give a slow moving melody a feeling of anxiousness, excitement, and torment. Chopin is very kind to insert the slow descending chords as a breath before the tremendously difficult closing section. Here Chopin found a near perfect combination of most of the pianists most difficult techniques (octaves, thirds, chromatic scales, and large leaps).

Sonata in B minor Op. 58

I. Allegro maestoso
Now that I am thinking about it this is a rare occasion to see Chopin composing in Common Time. The most surprising thing to me is the length of this first movement. I am usually used to seeing Chopin compose with a 12 minute maximum. Chopin approaches the composition of this movement similarly to the way Schubert composed, meaning that he was concerned primarily with the weaving of a beautiful melody with a beautiful accompaniment and less with length. This movement seems more improvisatory to me than the majority of works I have heard by Chopin.

II. Scherzo: Molto vivace
The style of the first section here could have been used in any large work (Ballades, Scherzi) of Chopin. The technique used is very similar to the middle section of the B-flat minor Scherzo. The second section seems to be a sorrowfully beautiful song which is concerned not with technique but rather with tone and register.

III. Largo
This may be the first time I have ever heard a loud beginning to a slow movement. Chopin displays his prowess over singing melodies within this movement. His accompaniment evolves into a steady ripple which carries the melody from one place to the next. Chopin’s use of the natural and dissonant sounds of the intervals on the piano seems to cause the listener to drop any other thoughts aside and completely absorb the beauties within the sound and melody.

IV. Finale: Presto non tanto
The intro of this movement is similar in character to the 3rd movement. I believe that Chopin is composing similarly to Schumann in this instance, considering that the majority of this movement is conceived from a sort of perpetual motion. Mostly this movement is about sparkle and movement, lyrically speaking there is not nearly as much to say about this movement as the others.