Ballade No. 3 in A-flat major, Op. 47, dating from 1841, is dedicated to Pauline de Noailles.The inspiration for this Ballade is usually claimed to be Adam Mickiewicz’s poem Undine, also known as Świtezianka. There are structural similarities with the “Raindrop Prelude” which was inspired by the weather in Majorca during Chopin’s disastrous vacation with George Sand. These include a repetitive A-flat which modulates into a G-sharp during the C-sharp minor section.
Opening bars of Ballade No.3
The form of this Ballade is an arch: ABCBA coda. The first A theme is in two parts; the first part is song-like and the second is dance-like. Out of the four ballades, the third Ballade has the tightest structure. This Ballade also uses development procedures that are successful at heightening the tension.
The Ballade opens with a lengthy introduction marked dolce (sweet). The introduction is thematically unrelated to a majority of the piece but is repeated at the close and climax of the work. Following the introduction, Chopin introduces new theme in a section with the performance direction mezza voce; this theme consists of repeated Cs in two broken octaves in the right hand. This theme reoccurs three different times in the ballade, twice on C and once on A-flat. The “mezza voce” section soon develops into a furious F minor chordal section and once again returns to A-flat. The ‘mezza voce’ section is repeated, following by a new theme consisting of right hand sixteenth-note leggiero runs. The following return of the broken octave theme is transposed from C to A-flat (the repeated Cs now being A-flats). The key signature then shifts to C-sharp minor. The original “B” theme is then developed, this time using rapid, chromatic left-hand runs in the left hand under large chords in the right. This theme builds to a climax through rapid repetition of broken G-sharp octaves (referencing the “mezza voce” theme) with fragments of the “B” theme in the left hand. A retransition occurs as the dynamic builds from piano to forte. The figuration in the left hand is chromatic and consists of spans frequently larger than an octave. The key signature then shifts back to A-flat major. In the final section of the arch, the “A” theme from the introduction is repeated again in octaves. The ballade ends with a reprise of the A-flat leggiero runs and a second right hand arpeggio. Four chords provide closure to the piece.
Pianist:Kyrstian Zimerman.He rules the Ballades.
