Interpretation of Chopins music and Teaching points in the context of Chopins Ballade No.

1 in G
minor

Narrative

Structure

Waltz presence

Ballade as a Genre: Form of verse, narrative set to music , derived from French chanson ballade
originally used as dancing songs, after all ballade = to dance
Many different traditions with ballades, all have different characteristics i.e. give examples
However all are to do with telling a story or a narrative , a self-contained story describe epic
tales, love emotions. Narrative techniques include flashback, forceback and tone. Can be seen in
Chopin Ballades and help to move narrative process along.

Chopins Ballades are not based on a specific text or literary work , no reciting of epic tale.
Chopin part of larger movement in 19th century which was to unite literary genres and music ,
attracted to this title as showing a grand work. Pastoral and rural life were prevalent themes at
that time and we can certainly see these themes in 2 and 4. Ballades in literature have set meter
stresses certain syllables, in Chopins Ballades also has waltzes that stress certain beats which
give a dancelike quality. Ballades in literature are self-contained stories. Common feature is
repetition -certain lines of stanza are repeated. Chopin repeats themes. Literary ballades uses
voices of narrator as well as other characters.

Chopins ballade introductions is like a narrator opening. PLAY and demonstrate opening of a
story.
First ballade ambiguous and improvisatory intro. Almost seems unrelated to all other material in
the work. Storyteller sets up the main scene for a grand storytelling. Unique in that it is self-
contained before it transitions to the primary theme. Waltzlike figure at bar 8. Opening figure
monophonic , could be likened to recitative from opera. Drama is that it starts in key of Ab major
(play chord) , (play )chromatic movement to G minor . Ends with ambiguous g minor chord with a
suspended Eb that causes tension already in the opening. Tone that foreshadows second theme
in Eb.

1st bars highly contrast to the rest of the piece. Each of the four ballades ends with an epic coda that
provides a very final and firm conclusion. No. 1 has a very stormy and strong coda.

Very dramatic coda at the end of first ballade -narrative quality very prevalent . Enormous ascending
and descending scalic passages demonstrate bar 246-Chopin settles on low G- almost seems over
(ending? Ascending rapidly again and then plunges into soft g minor chords.

Piano version of recitative in an orchestral (250-252) accelerando version of opening 253 then
material of scale in 10ths to increase intensity and passion (255-256) ritenuto is the same then he
goes to create space and wide stretches with a harsh dissonance. He heightens ugliness and
excitement with fff and grace notes with pop rit to an acc and open octave Gs. Ending is quite
fascinating compare with ending -starts with open octaves and ends with open octaves.
STRUCTURE

James Parakilis

Chopins ballade structure seems to require three musical events :

Statement of themes

Transformation of themes

Resolution of themes

Many theorists try to mould the ballades of Chopin into a particular present form structure.

Doesnt conform to any specific musical forms although they do hold elements of certain traditional
forms.

Ballade No. 1 for example. Is it written in Sonata style? It has similarities to sonata style.

It has two strikingly different themes, a quasi-development , followed by quasi recapitulation of

main theme in original key. Cant be in sonata form for no. of reasons:

Development is too stable. Too tonally centered in the key of Eb (theme 2) In traditional sonata form
development modulates through a number of different keys. Also primary and secondary themes
are recapitulated in reverse order. Not typical sonata form.

Key relationship between themes is quite peculiar , after intro, waltz in G minor (Play) , if in the
norms you would think it would modulate into Bb major but instead goes into Eb major.
Recapitulation isnt true return to home key as the primary theme is placed over a dominant pedal.
(Bar 194) Demonstrate

Then catapults into coda without satisfaction of returning to the home key. Thus more beneficial
Parakilus describes as three part narrative form. Ties back to idea of narrative. Three statements of
primary theme each appearing after piece has lost all momentum announces the start of three
different musical stages (next slide) .

End of introduction (bar 6-7 D) with foreshadowing Eb -then waltz

Stage 2 initiated (93-94) same material dominant pedal

Stage 3 (193-194) D dominant pedal 195-196)

Structural accidental many harmonic shifts or use of unexpected notes throughout compositions
that seem surprising or random but serve to foreshadow future events. Whenever you hear strange
harmonic shift or accidental may be entirely new key area. For example

1) Narrative section End (bar 7 G minor chord with suspended Eb)

2) Before coda we get the same tense chord- 206 -207 -appassionato section and loud as
possible . tense chord
3) End of coda (bar 256-257) Uses it in calm parts and then foreshadows into high points

Use of Neopolitan bar 1-2. Again seems strange unexpected beginning to piece in G minor. Dont
see again until Gyspy like coda -off-beat.
Bar 208- offbeat Ab major chords in environment of G minor, Rhythmic tension and harmonic
tension which calls Neopolitan from the beginning back again. (demonstrate coda) Ab chord
highlight bar 216-Ab down to G to F # = rather strange

Another structural accidental. Unexpected shift/ move to A major in bar 32 -bar 29-32

Few bars later shifts back to 35-36 back to G minor. Fleeting

Foreshadowing - Climax of stage 2. (106- 107 arrival ) biggest climaxes of entire work play until bar
115.

Another small detail -introduction and how it ends. Bar 5 -insignificant ending?

Height of coda -bar 246. Play bar 242 -246. Highlight 246 Eb to F to G. Chopin reverses the roles.

PRESENCE of the Waltz

Half remembered waltz quality.

All written in compound meter, 2,3,4 are all in 6/8 while first is in 6/4 time. All chopin waltzes are
written in 3/4 time with one exception of 3/8 compound meter that is present still evokes
undeniable waltz-like quality. Present two examples of two Chopin waltzes minute waltz
straightforward presentation of the melodies

Time.

Many instances of a waltz quality hinted at, questioning and inquisitive as if Chopin is trying to recall
but then gives up before he gets it. Grasping at idea of waltz, maturing ideas. Remembered this
waltz, oh yeah oh this. Conjuring from deep recesses of memory.

Opening waltz of first Ballad- remember this? Bar 8-10

Then put another motive in -bar 10-11 searching on the E and weaker.

Bar 12 hope excitement on the high G leading to a meandering of bar 14 Eb

Other examples abound. Emerge out of the past to the present.

Again in Ballade no. 1 after passagework in G minor 59- 64-65. Calls out of a distance

Bar 67 distant memory 70-71.

Forward pressing vigorous waltz- bar 36 -44/45

Narrative . structure and half-remembered waltzes.

Teaching Points:

Barenboim:

First pianistic composer 4 Ballades

Piece has an introduction An introduction is not only something that presents main movement but
way of giving impression the composer is seeking or looking for he is going to write. Its not part of
construction. Performers try to make it seem as if they are making the music or improvising the
music. See from introduction can imagine many things to come after it. A search and takes a turn -F
sharp? Where are we ? Here? No and ends on a suspended Eb. Chord goes away , suspend Eb and
then we have a start. Waltz in G minor.

Ballade is a promenade in French? Go for a walk? A free structure -conversation, landscape

Lyrical passage.

Climax is very dramatic and big- same material but completely transformed

Coda is very brilliant and virtuosic. Octaves coming down at the end.

Andreas Klein

What it takes for an artist to undertake this piece, many concerts to inspired by it. Own story to tell
in its music. Tragic, passionate story to tell.

Largo Grand gesture. Large. Forte and Pesante = Heavy footsteps (1st three bars) Lays out grand
opening/ curtain rising. Chopin as the composer. Pianist has the obligation have to interpret the
Largo, Forte, Pesante and find the meaning of them. Fingering

Bar 3 question mark answered by bar 4- piano marking. Has to contrast . Question mark again.

Unresolved frictional chord with Eb.

The story -waltz. Different to the previous 4/4 time. All ballades are written in compound six beats .
Composer wants a longer measure and a longer line in playing. If it was in 3/4 time it would actually
sound like a waltz, connect notes so it has the feeling of a long line in a long measure. Learning a
new piece initially is like looking at a new painting- only concerned about the little details while as
you progress you are less concerned about individual markings/markings but more aware of the
architecture of piece. Grows from inside out. From small to a larger concept.

First theme -bar 8 onwards. Repetitive. Good musician finds way to present the same material as not
redundant. Reinforcing the material. Afterthought, or interpret it as a shadow or echo. Strong or
less. The details would form the opening melody and theme.

Second page bar 24 left hand -bar 30 Think cello melody. Music becomes more complex than
opening waltz chords accompaniment. Left hand has something to say as well.

Constant metric changes

A milestone in the Romantic piano literature, and a stupendous recording of it. The number of
great moments in this is probably too great to count, with many more in between, and the entire
4th Ballade is a single unbroken wonder from its miraculous beginning onward Chopin is --
popularly, but not critically -- seen primarily as a great melodist, which reputation does him a
great disservice. In the Ballades Chopin does something which Beethoven reserved for his
sonatas (and which Chopin never did in his), which was to introduce daring and very effective
structural modifications to Sonata form. One obvious example of such a novelty is the "mirror
reprise", where the two expositional themes appear in reverse order during the recapitulation.

Chopin Coda Teaching Tips

I feel like when a lot of pianists look at the words Presto con fuoco- very fast with fire they think you
need to go the fastest you can play but I think its important that its not at the expense of artistry.
Otherwise when you get to this section it can just be a really sloppy mess of notes. In fact from the
readings Chopin was very much focussed on the idea of finesse and gentle qualities. So I believe its
important to look at the tempo marking from artists perspective rather than technicians
perspective.

The teaching points in this first part would be voicing and feeling the phrasing in the chromatic
scales. Opening passage- bar 208-212 get a bit lighter. Feel the phrasing in the chromatics -next one
is similar.

Next place can get very sloppy and mine is still is. Bar 216 focus on inner lines. So play the harmonies
and listen for the Ab-G-F sharp. Very clever in displacing these registers in different melody lines.
High Ab -Low G and F sharp. Bar 220 grow in intensity

Another important teaching point that can be used in the whole work is the idea of contrasting
dynamics -so the very important thing to remember is that in order to have a crescendo you must
have room to grow so you need to drop the level of dynamic before you can create the crescendo
effect efficiently i.e. bar 230.

Again the chunking practise can be used again at bars 236 where instead of one by one think of the
notes as group of two slurs to increase speed.

. Krystian Zimerman takes a lot of liberties and pulls them off extremely convincingly. Prime example
of how speed doesnt mean anything -compare different pianists but doesnt hold the same artistic
value rather than breakneck speed. Colours and resolutions Ab- F sharp and G. Rubato in and slow
down to hear the notes and harmonies.

Chopin -was sensitive and introspective. Etudes were also gems of music as well amidst of the
technique. Dont let speed outdo the interpretation, when you shape things hands will be more in
control.

OPENING-

Miscounting the opening of the work. 1 & 2 & -counting aloud.

Rubato-steal something we give it back. Gradually do it cant suddenly change the time values. C
louder then start softer, push a little and then give it back and resolve.

Pedalling-
Subjective piece. Many ways of interpretation. Pedal beginning on bar2 then Ab. Feeling of intensity
and top c makes total sense- stroke outwards to left note sound. Highlight top of triplet.

Improvisional style in Chopin

Octave scales very persuasive in advanced piano music. Fourth finger is very important especially
with the black notes. Lets you prepare -tempo can be easier handled. Needs to come from the body
and arm weight.

How to practise efficiently

How to become quicker and maximise time in practice.

If we squander it away we cant accomplish anything it we can use it efficiently we can accomplish
great things.

How much time can be dedicated to practise sessions and then organise the times. How do we get
good in those organised sessions.

Humility- Realising that we are only human

Only 3 weeks

Each day will take one small section- i.e. one page /two pages for entire day. If starting to learn a
piece. Look for patterns and chunk it in chords, and harmonies and repeat it over and over again
until its perfect. Dont add what to you previously did right away -until later.

Do new individual pieces first , perfect them then put them together. Put all in a box in the mind -
trust yourself dont think it will be lost. Can remember for more than five seconds. Next measure
practise until youre satisfied. Can group into things that make musical logical sense. Combine the
two ideas and can go back and put the two bigger pieces together.

Tchaikovsky Concerto-

Do little pieces within larger assignments. I.e first movement 15-20 pages

First five days-first 18 pages. Do only two pages a day

Each day first review what I did the previous day and then move on to new material.

Breaking point: Leave it alone for a few days- Music takes time to season and get into the body and
mind. Taking a break from it -next few days learn last few pages. Then at end put them all back
together. Putting the two pieces together. Be proportional. Need 8-10 repetitions for something to
be stored into the memory or long-term memory.

Work on 2-3 pieces one week -then 4 pieces a week. 5, and then 7. Recycle the harder pieces. Can
add one in each week and add them in methodically. Dont need to practise every single part of the
piece.