The Ballade No. 4 in F minor, Op. 52 is a ballade for solo piano by Frédéric Chopin, completed in 1842 in Paris and published in 1843 with a dedication to Baroness Charlotte de Rothschild.[1] Being his last published ballade, the piece is commonly considered one of the masterpieces of 19th-century piano music.[2][3]
| Ballade No. 4 | |
|---|---|
| Ballade by Frédéric Chopin | |
 Autograph manuscript, Bodleian Library, 1842 | |
| Key | F minor |
| Opus | 52 |
| Composed | 1842 |
| Dedication | Charlotte de Rothschild |
| Published | 1843 |
Of the four ballades, it is considered by many pianists to be the most difficult, both technically and musically.[4][5] It is also the longest, taking around ten to twelve minutes to perform. According to John Ogdon, it is "the most exalted, intense and sublimely powerful of all Chopin's compositions... It is unbelievable that it lasts only twelve minutes, for it contains the experience of a lifetime."[6]
History
editThe circumstances of composition are poorly documented, though it appears that Chopin began composing shortly after the completion of Ballade No. 3. By December 1842, the ballade was finished, and he offered it for sale to Breitkopf & Härtel, along with the Heroic Polonaise and the fourth Scherzo.[7]
The work was dedicated to Baroness Charlotte de Rothschild, wife of Nathaniel de Rothschild,[5] who had invited Chopin to play in her Parisian residence, where she introduced him to the aristocracy and nobility.
In the preface to his edition of Chopin's ballades, Alfred Cortot claims that the inspiration for this ballade is Adam Mickiewicz's poem The Three Budrys, which tells of three brothers sent away by their father to seek treasures, and the story of their return with three Polish brides.[8]
Structure
editA phrase in C major (marked piano) opens the seven introductory bars and leads into the first subject of sonata-form exposition.[9] The first theme undergoes four cumulative transformations with decorations, counter-melodies, and a nocturne-like fioritura.[2] The development of the second theme and its intertwining with the first heightens the complexity of the musical structure and builds tension. Through the intertwining and thus the simultaneous development of the two themes, Chopin effectively combines the use of both the sonata form and the variation form.[10] The body of the piece concludes with a series of accented fortissimo chords, followed by a momentary calm of five pianissimo chords.[11] This then suddenly leads into an extremely fast, turbulent coda, written in exuberant counterpoint. Structurally, Ballade No. 4 is decidedly intricate.[4][5]
Analysis
edit
A distinguishing feature of the fourth ballade is its contrapuntal nature. Counterpoint is found only sporadically in the first and second ballade. The fourth ballade is musically more subtle than the other three, as most of its portions remain melancholic and profound. Although there are some substantial outbursts in the central sections of the music, the coda reveals its greatest momentum.[12]
Jim Samson provided a careful musical analysis of the ballade, characterising its "purposeful ambivalence".[13] Samson divides the complex structure into sections, starting with the bell-like Introduction, bars 1–7: the slow waltz in the first theme and variations — Theme I in F minor, bars 7–22, Variation I, bars 23–36, and Variation II, bars 58–71; and the second theme, Theme II in the subdominant B flat major, bars 80–99, The pastoral second theme is a cross between a barcarolle and a chorale. This is followed by an episode in which the key passes to A-flat major. The return of the Introduction, in an unexpected key, is musically a moment of great pathos. As Samson writes: "The journey from this point to the reprise [of Theme II] is one of the most magical passages in Chopin. The main strands of Theme I are here isolated and presented in contrapuntal combination ... Moreover one of these strands is gradually and beautifully transformed into the unobtrusive return of the introduction in the remote foreground region of A major, a transition made possible by the shared repeated notes of the introduction and Theme I. This is the mid-point of the structure [and] enables his reprise to begin in the unexpected key of D minor."[14][15]
This further variation of Theme I, Variation III, accomplishes the "canonic aspirations" of previous thematic material, revealing its dynamism and its progressively contrapuntal and polyphonic texture. According to Samson, "The tonal setting of the reprise proves ingeniously deceptive, exploiting the minor third sequence built into Theme I to return the music very quickly to the tonic. The canonic element is thus absorbed unobtrusively into the harmonic flow of the original material." There is a fourth variation of Theme I, Variation IV, at bar 152. It has a "cantabile-decorative treatment of exquisitely moulded ornamental melody". At this point the whole movement at last begins to spring into bloom, as its "nocturne-like" embellishments in the high register become even more adventurous. The unexpected return to D-flat major and Theme II provides a climax of great majesty. Samson writes that: "It is indeed a glorious moment. The deceptive innocence of Theme II is transformed into a powerful apotheosis, building with ever more impassioned fervour towards ... the return to F minor. The structural dominant appears now for the first time in the work and it remains suspended, poised on a precipice of harmonic tension, while a series of pianissimo chords prolongs it in a brief illusion of repose. The bravura closing section which follows seems to exorcise earlier conflicts and tensions in a white heat of virtuosity. These final moments are among the most majestic perorations in all Chopin."[16]
References
edit- ^ Jonson 1905, p. 157.
- ^ a b Samson 1994, p. 115.
- ^ Walker 2018, p. 449.
- ^ a b "Chopin: Complete Music Analysis – Ballades". ourchopin.com. Retrieved 17 December 2020.
- ^ a b c Huneker, James (1921). Chopin: the Man and his Music. Plain Label Books. p. 414. ISBN 1-60303-588-5. Retrieved 5 January 2010.
- ^ "Chopin Music: Ballades". 13 June 2009. Archived from the original on 27 January 2010. Retrieved 6 January 2010.
- ^ Müllemann, Norbert (2007). Chopin Ballades – Preface. Munich: G. Henle Verlag. pp. IX–XIII.
- ^ Foreword, The Ballads of Chopin, Salabert Editions. An English version of the poem can be found here Archived 2010-07-19 at the Wayback Machine
- ^ Samson 1994, p. 112.
- ^ How to Play Chopin: Chopin's Ballades Archived 15 March 2014 at the Wayback Machine, Regina Smendzianka
- ^ Walker 1973, p. 58.
- ^ Samson 1994, pp. 114–115.
- ^ Samson 1992, p. 62. For convenience Samson has provided a bar-by-bar table of the different sections.
- ^ Samson 1992, p. 66.
- ^ Klein, Michael (2004). "Chopin's Fourth Ballade as Musical Narrative". Music Theory Spectrum. 26 (1). Oxford University Press: 23–56. doi:10.1525/mts.2004.26.1.23. JSTOR 10.1525/mts.2004.26.1.23.
- ^ Samson 1992, p. 67.
Bibliography
edit- Jonson, George Charles Ashton (1905). A Handbook to Chopin's Works. Doubleday.
- Rothstein, William (1994). "Ambiguity in the Themes of Chopin's First, Second, and Fourth Ballades". Intégral. 8: 1–50. ISSN 1073-6913. JSTOR 40213955.
- Samson, Jim (1992). Chopin: the Four Ballades. Cambridge University Press. doi:10.1017/CBO9780511611650. ISBN 9780511611650.
- Samson, Jim (1994). "Extended forms: the ballades, scherzos and fantasies". In Samson, Jim (ed.). The Cambridge Companion to Chopin. Cambridge University Press. pp. 101–123. ISBN 9780521477529.
- Walker, Alan, ed. (1973). The Chopin companion: Profiles of the man and the musician. The Norton library. New York: Norton. ISBN 978-0-393-00668-1.
- Walker, Alan (2018). Fryderyk Chopin: A Life and Times (1 ed.). New York: Farrar, Straus and Giroux. ISBN 978-0-374-15906-1.
External links
edit- Ballade No. 4 (Chopin): Scores at the International Music Score Library Project
