Chopin Sonata and Ballades

Chopin – Sonata No.3 in B minor, Op. 58

Chopin’s last piano Sonata brings to the table an array of expressive, and delicate colors displayed so beautifully and clearly in each of the four movements. Similar in structure to his second sonata, No.3 adopts a lyrical largo instead of a funeral march.

I.               Allegro maestoso

 

The Sonata opens with a forceful downward gesture, leading to a sequence of heavy chords. The introduction of much more melodic second theme over a wide ranging Alberti bass pattern brings to mind the melody of the D-flat major Nocturne, op. 27, no. 2. As the melody develops it begins to pull away from the home key through unusual harmonies, yet it eventually ends in dominant of F-sharp major. The development is pool of dense counterpoint and as it opens Chopin quotes the second theme, but this gives way to the mighty first theme. Its conclusion leaves me gasping for more. Clever man closes with a THIRD thematic group in B MAJOR. Astonishing.

 

II.             Scherzo

 

Unlike Chopin’s other dramatic drenched Scherzi, this little gem is brisk in tempi and bright in color lasting an average of two minutes. Its key of E flat major creates a bi-polar contrast to the first movement. Full of busy pianistic figuration to open, the middle section consists of a more tranquil tune, but gives way to the buoyant opening to conclude the interlude like movement.

III.           Largo

 

The largo opens with a thunderous dotted octave passage in the bass, almost leading to another funeral march. Yet a gorgeous lilting melody over a rocking bass immediately takes over the heavy introduction. The middle section is characterized by a long and dreamy quaver figuration supported by the ringing of deep bass octaves. The opening melody returns to end the movement

 

IV.            Finale, Presto non tanto

 

The finale in my mind way could not be opened in any way. Eight measures worth of open octaves leading to the dominant seventh let the listener know we are in B minor. Agitato leads a galloping like character with the melody in the right riding through insistent driving rhythm. As the melody grows, so does the texture of the accompaniment. Eventually the presence of the second theme with its triumphant chords and runs shifts the intensity of the movement to a new level. Sudden bursts of excitement, and virtuosic display litters the finale to its epic conclusion.

 

Ballade No.2 in F major, Op. 38

 

Famous for its two contrasting key signatures, Ballade no. 2 comes with two very contrasting themes. The opening is a beautiful lilting, chorale, which sends the listener almost to hypnotic state, then it suddenly takes a turn for the worst. The second theme enters as a furious gust of wind prompted by right hand arpeggios and an insistent left hand octave motif. It is these two themes that eventually return and lead to the coda. Not for the light hearted, the coda is dominated by sixteenth note pattern in the right hand, with an alto voice that is continually surging, creating an almost sea sick effect. When the coda finally reaches its climax, the opening theme return, whispering a memory from long ago.

 

Ballade No. 4 in F minor, Op. 52

 

Difficult to describe the beauty this Ballade conveys, it is music that has to be heard, not written about. From the simple octave opening, to the lyrical first theme, to its development, the build up of texture, the Fourth Ballade tells an epic story in an average time span of 12 minutes. The most impressive feature of this Ballade is how Chopin manages to develop the theme gradually with use of counterpoint, and harmonies. As the theme develops it becomes more and more narrative, to the point you lose the pulse and just enjoy the story being told before you. The famous coda is the climax of the Ballade and represents a struggle through the use of thirds, chromaticism and quick figuration. Eventually the struggle ends with an almighty cascade down the keyboard to three concluding chords.