The purpose of this end-of-course article is to offer a comprehensive analysis of Fredyryk Chopin’s Ballade in G Minor, Op. 23., Nr. 1 as edited by G. Henle USA. This article will discuss the comprehensive elements of Chopin’s Ballade in G minor and will consider the issues of form and tonal schemes.
Said to have been inspired by the poet Adam Mickiewicz, 1 Chopin composed the Ballade in G Minor between 1835-36, during his earliest tenure in Paris.
Chopin’s Ballade in G Minor has been one of the most popular and more frequently programmed of his four Ballades and exists as a staple for many of the greatest pianists of today.
The opening statement of the Ballade in G minor is a good specimen for comparison of the elements that follow in the rest of the ballade.
Example 1 Largo - Chopin Ballade in G Minor, Op. 23., Nr. 1

In the opening of the ballade, marked Largo in 4/4, a low C2 octave claimed by both hands ascends rhythmically by eighth notes through the Neapolitan (A-flat) of the intended key of G minor to a high C6 and descends through a written diminuendo into F-sharp, the leading tone of G minor. As the opening statement descends, its message is interrupted by a three beat rest which halts on a dubious E-flat Major 7 chord. This chord is carried into the start of the moderato section as a low D2 evokes the underlying quality of the moderato now in 6/4. The rhythm of the 6/4 meter suggests a latent waltz-like quality that is only reinforced by the offbeat chords. Further evidence of this waltz-like quality exists in the the portamento style writing of the offbeat chords. While the rhythm of the 6/4 meter suggests a latent waltz-like quality, in each offbeat chord, the quarter notes are slurred under the portame...
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...r by his contemporaries. While Chopin is seen as one of the first to pioneer the ballade as a musical form, various studies on the musical form of his ballades debate whether the musical structure of these works are derivative of sonata form or whether they are inherently exclusive, departing from the traditional categories which were more pervasive during the period; e.g. sonata allegro form, rondo form, and theme and variation. Given the obvious presence of theme, second theme, and variations on the second theme, it can be suggested that Chopin’s ideas for the form of ballade is similar to the structure of a theme and variation; however, as stated in many of the studies on this ballade, further analysis is needed in order to answer the question on whether the ballade is new musical form, a variant of sonata form, or theme and variation cannot be fully answered.
Seyersted, Per, and Emily Toth, eds. A Kate Chopin Miscellany. Natchitoches: Northwestern State University Press, 1979.
Chopin, Kate. The Awakening. The Norton Anthology of American Literature. Ed. Nina Baym. 3rd ed. New York: Norton, 1989. 508-598.
...Chopin's The Awakening." Journal For Cultural Research 12.4 (2008): 335-347. Academic Search Premier. Web. 25 Mar. 2014.
Chopin, Kate. ?The Storm.? The Norton Anthology. Ed. Nina Baym, et al. New York: 1999. 1612-1615
Chopin, Kate. “The Story of an Hour.” The Norton Introduction to Literature. Kelly J. Mays, ed. Portable 11th ed. New York: Norton, 2014. 278-280. Print.
Chopin's style, as mentioned before, is what captivates the reader. It gives the story personality, every quirk in her writing evident and interesting. The words used are exactly what she means them to be, and more. Her use of literary devices paints a stunning picture of life in the late nineteenth century, especially her unique use of syntax.
This piano concerto adheres to the tradition way of composing a piece in this genre as it consists of three movements:
Chopin, Kate. The Awakening. The Norton Anthology of American Literature. Ed. Nina Baym et al. 2nd ed. Vol. 2. New York: W. W. Norton & Co., 1985.
His compositions are considered to have led to the development of the sonata form. This was still evident late in his career. Piano Sonata No. 62 in E-flat major (Hob. XVI:52) consists of short, balanced melodic phrases of two, four or sometimes six bars. Each melody in the exposition is evenly divided into an antecedent phrase and a consequent phrase; question and answer. This is a typical characteristic of the Classical Period which obsessed over clarity of structure. Similarly, Beethoven’s Piano Sonata No. 1 in F minor Op. 2, No.1 is clearly divided into an exposition, development and recapitulation. Its lucid exposition of melodic material occurs in balanced melodic phrases. Both of these works contain short codas to each section. The fact that Beethoven’s sonata was written one year after Haydn’s, whilst he was still a student of Haydn’s, highlights the influence of Haydn over Beethoven during the early stage of his
Frederic Chopin is one of the most famous and influential composers from the nineteenth century. He is especially known for his piano music now and then. Chopin’s works include three sonatas, mazurkas, waltzes, nocturnes, polonaises, etudes, impromptus, scherzos, ballades, preludes, two piano concertos, a few chamber music, and some Polish vocal pieces. He played an important role in the 19th century Polish nationalistic movement. In particular, his mazurkas and polonaises based on Polish dances best express his nationalistic passion and the musical features of the Polish culture.
With exquisite mingling in sound of quiet and agitation, fluidity and interruption, with a gorgeous melody of cautious, tightly contracting circles and sudden leaps into space, Chopin, the subtle-souled psychologist, opens his waltz. How does Chopin speak through his waltz? How does the music play the listener? Minds think through forms. Form follows content. Music’s structure matters. In Chopin’s Opus 69 No.1, the AA’BA’BA’CCDCDA’ structure of reoccurring themes uncomfortably prolongs the inevitable return of the tragic first theme which the audience does not want to hear but expects to hear anyway.
Chopin, Kate. The Awakening. The Norton Anthology of American Literature. Ed. Nina Baym et al. 2nd ed. Vol. 2. New York: W. W. Norton & Co., 1985.
Chopin, Kate. "The Story of an Hour." The Compact Bedford Introduction to Literature. 4th ed. Ed. Michael Meyer. Boston: St. Martins, 1997. 12-15.
The exposition of Dussek’s Piano Sonata in G Major can be broken down into two primary themes, two secondary themes, and finally a transition into cadential extension. The first primary theme is made up in large by a parallel period. The antecedent begins on measure 1 and continues to measure 4. A 2:2:4 sentence connects the antecedent with the consequent, which begins on measure 12. Much like the antecedent, the consequent gives off an impression of statement and response; however, it is more apparent in the consequent due to the drastically changing dynamics. Overall bleeding into the continuation of the consequent which begins on measure 16. The continuation concludes with a sequence emphasizing the central theme of the piece. The silence within the figures of this theme bring attention that a change is about to take place, leading into the second primary theme. While it can be considered a transition due to the right hand primarily playing sixteenth note runs with a chromatic structure, measure 23 is the beginning of the second primary theme. The secondary theme can b...
Franz Liszt is said to be the most astounding piano virtuosos that existed during the Romantic era. This essay will discuss his achievements as a pianist as well as a composer. This essay will examine his life and will examine what influenced him at an early age. It will also look at his accomplishments as a pianist as well as a composer and examine how he became as well known as he is today. It will use his background to show what exactly influenced him to become a successful pianist and composer and it will discuss how essential he was during the Romantic era.