Albumblatt, Allegretto, Allegro de Concert, Andantino | Ballades | Barcarolle, Berceuse, Bolero, Bourrées, Canon, Cantabile | Concertos | Contredanse, Duo Concertant, Ecossaises | Etudes | Fantasias, Fugue, Funeral March, Galop Marquis | Impromptus, Largo | Mazurkas | Nocturnes | Polonaises | Preludes | Rondos | Scherzos | Sonatas | Songs | Tarantella, Trio, Variations | WaltzesWORK LIST IN ALPHABETICAL ORDER
Albumblatt E major (Feuille d'Album / Moderato), 1843
Allegretto, F sharp major, 1829
Allegro de Concert, A major, Op. 46, 1841
Andantino "Wiosna" G major, 1838
Ballade [No. 1], G minor, Op. 23 (Polish), 1833
Ballade [No. 2], F major, Op. 38 (La gracieuse), 1839
Ballade [No. 3], A flat major, Op. 47, 1841
Ballade [No. 4], F minor, Op. 52, 1843
Barcarolle, F sharp major, Op. 60, 1846
Berceuse, D flat major, Op. 57, 1844
Bolero, C major, Op. 19 (Souvenir d'Andalousie), 1833
Bourrées: no 1 in G minor, no.2 in A major, 1846
Canon, F minor, 1839
Cantabile, B flat major, 1834
Concerto [No. 1], E minor, Op. 11, piano and orchestra, 1830:
I-Allegro maestoso, II-Romance: Larghetto, III-Rondo: Vivace
Concerto [No. 2], F minor, Op. 21, piano and orchestra, 1829:
I-Maestoso, II-Larghetto, III-Allegro vivace
Contredanse, in G Flat major (Kulaway), 1827
Duo Concertant from Meyerbeer's "Robert le Diable", E major, piano and cello, 1831
Ecossaises Op. 72: no 3 D major, no 4 G major, no 5 D flat major, 1826-30 [No. 1-3]
Etudes Op. 10, 1829-1833: [No. 1-12]
no 1 C major (Waterfall)
no 2 A minor (Chromatic)
no 3 E major (Tristesse)
no 4 C# minor (Torrent)
no 5 Gb major (Black keys)
no 6 Eb minor
no 7 C major (Toccata)
no 8 F major
no 9 F minor
no 10 Ab major
no 11 Eb major (Arpeggio)
no 12 C minor (Revolutionary)
Etudes Op. 25, 1835-1837: [No. 13-24]
no 1 Ab major (Aeolian harp)
no 2 F minor (Bees)
no 3 F major (Cartwheel/Horseman)
no 4 A minor
no 5 E minor (Wrong notes)
no 6 G# minor (Thirds)
no 7 C# minor (Cello)
no 8 Db major (Sixths)
no 9 Gb major (Butterfly)
no 10 B minor (Octaves)
no 11 A minor (Winter wind)
no 12 C minor (Ocean)
Etudes de la Méthode des Méthodes, 1839-1840 (Trois nouvelles études): [No. 25-27]
no 1 F minor
no 2 A flat major
no 3 D flat major
Fantasy on Polish Airs, A major, Op. 13, piano and orchestra, 1828
Fantasy, F minor, Op. 49, 1841
Fugue, A minor, 1841
Funeral March, C minor, Op. 72 no 2, 1826-29
Galop Marquis, A flat major, 1846
Impromptu [No. 1], A flat major, Op. 29, 1837
Impromptu [No. 2], F sharp major, Op. 36, 1839
Impromptu [No. 3], G flat major, Op. 51, 1842
Impromptu [No. 4] (Fantaisie-Impromptu), C sharp minor, Op. 66, 1834
Largo E flat major, 1847
Mazurkas Op. 6: no 1 F#m, no 2 C#m, no 3 E, no 4 Ebm, 1832 [No. 1-4]
Mazurkas Op. 7: no 1 Bb, no 2 Am, no 3 Fm, no 4 Ab, no 5 C, 1824-32 [No. 5-9]
Mazurkas Op. 17: no 1 Bb, no 2 Em, no 3 Ab, no 4 Am, 1833 [No. 10-13]
Mazurkas Op. 24: no 1 Gm, no 2 C, no 3 Ab, no 4 Bbm, 1833 [No. 14-17]
Mazurkas Op. 30: no 1 Cm, no 2 Bm, no 3 Db, no 4 C#m, 1837 [No. 18-21]
Mazurkas Op. 33: no 1 G#m, no 2 D, no 3 C, no 4 Bm, 1838 [No. 22-25]
Mazurkas Op. 41: no 1 C#m, no 2 Em, no 3 B, no 4 Ab, 1838-39 [No. 26-29]
Mazurkas Op. 50: no 1 G, no 2 Ab, no 3 C#m, 1842 [No. 30-32]
Mazurkas Op. 56: no 1 B, no 2 C, no 3 Cm, 1843-1844 [No. 33-35]
Mazurkas Op. 59: no 1 Am, no 2 Ab, no 3 F#m, 1845 [No. 36-38]
Mazurkas Op. 63: no 1 B, no 2 Fm, no 3 C#m, 1846 [No. 39-41]
Mazurkas Op. 67: no 1 G 1835, no 2 Gm 1849, no 3 C 1835, no 4 Am 1846 [No. 42-45]
Mazurkas Op. 68: no 1 C 1830, no 2 Am 1827, no 3 F 1830, no 4 Fm 1849 [No. 46-49]
Mazurka A minor (Emile Gaillard), 1840 [No. 50]
Mazurka A minor (Notre Temps), 1841 [No. 51]
Mazurka D major, 1820
Mazurka G major (Prague), 1826
Mazurka B flat major, 1826
Mazurka D major, 1832
Mazurka B flat major, 1832
Mazurka C major, 1833
Mazurka A flat major (Szymanowska), 1834 [No. 52-58]
Nocturnes Op. 9 (Les murmures de la Seine): no 1 Bbm, no 2 Eb, no 3 B, 1832 [No. 1-3]
Nocturnes Op. 15 (Les zéphyrs): no 1 F, no 2 F#, no 3 Gm, 1833 [No. 4-6]
Nocturnes Op. 27 (Les plaintives): no 1 C#m, no 2 Db, 1835 [No. 7,8]
Nocturnes Op. 32 (Il lamento e la consolazione): no 1 B, no 2 Ab, 1837 [No. 9,10]
Nocturnes Op. 37 (Les soupirs): no 1 G minor 1838, no 2 G major 1839 [No. 11,12]
Nocturnes Op. 48: no 1 C minor, no 2 F sharp minor, 1841 [No. 13,14]
Nocturnes Op. 55: no 1 F minor, no 2 E flat major, 1842-44 [No. 15,16]
Nocturnes Op. 62: no 1 B major, no 2 E major, 1846 [No. 17,18]
Nocturne Op. 72 no 1 E minor, 1827 [No. 19]
Nocturne C sharp minor (Lento con gran espressione / Reminiscence), 1830 [No. 20]
Nocturne C minor, 1847 [No. 21]
Polonaise C major Op. 3 (La gaité), piano and cello, 1829-30
Polonaise E flat major, Op. 22
(Grande Polonaise Brillante précédée d’un Andante Spianato), 1830-1835:
Version for piano and orchestra: I. Andante Spianato, II. Grande polonaise
Version for solo piano: I. Andante Spianato, II. Grande polonaise
Polonaises Op. 26: no 1 C sharp minor, no 2 E flat minor (Siberian Revolt), 1835 [No. 1,2]
Polonaises Op. 40: no 1 A major (Military) 1838, no 2 C minor 1839 [No. 3,4]
Polonaise F sharp minor, Op. 44 (Tragic), 1841 [No. 5]
Polonaise A flat major, Op. 53 (Heroic), 1843 [No. 6]
Polonaise A flat major, Op. 61 (Polonaise-fantaisie), 1846 [No. 7]
Polonaises Op. 71: no 1 D minor, no 2 B flat major, no 3 F minor, 1827-29 [No. 8-10]
Polonaise G minor, 1817
Polonaise B flat major, 1817
Polonaise A flat major, 1821
Polonaise G sharp minor, 1822 or 1824
Polonaise B flat minor (L'adieu à Guillaume Kolberg / La Gazza Ladra), 1826
Polonaise G flat major (Les adieux de Varsovie), 1829 [No. 11-16]
Preludes Op. 28, 1838-1839: [No. 1-24]
no 1 C major (Reunion)
no 2 A minor (Presentiment of death)
no 3 G major (Thou art so like a flower)
no 4 E minor (Suffocation)
no 5 D major (Uncertainty)
no 6 B minor (Tolling bells)
no 7 A major (The Polish dance)
no 8 F# minor (Desperation)
no 9 E major (Vision)
no 10 C# minor (The night moth)
no 11 B major (Dragonfly)
no 12 G# minor (Duel)
no 13 F# major (Loss)
no 14 Eb minor (Fear)
no 15 Db major (Raindrop)
no 16 Bb minor (Hades)
no 17 Ab major (A scene on the place de Nôtre Dame de Paris)
no 18 F minor (Suicide)
no 19 Eb major (Heartfelt happiness)
no 20 C minor (Funeral march)
no 21 Bb major (Sunday)
no 22 G minor (Impatience)
no 23 F major (A pleasure boat)
no 24 D minor (The storm)
Prelude C sharp minor, Op. 45, 1841 [No. 25]
Prelude A flat major (Presto con leggerezza / Pierre Wolf), 1834 [No. 26]
Prelude E flat minor (Devil's trills) [No. 27: recently discovered]
Rondo C minor, Op. 1 (L'adieu à Varsovie), 1825
Rondo à la Mazur, F major, Op. 5 (La posiana), 1826
Rondo à la Krakoviak, F major, Op. 14, Piano and orchestra, 1828
Rondo E flat major, Op. 16 (Rondo élégante), 1833
Rondo C major, Op. 73, for 2 pianos, 1828
Scherzo [No. 1], B minor, Op. 20 (Infernal Banquet), 1833
Scherzo [No. 2], B flat minor, Op. 31, 1837
Scherzo [No. 3], C sharp minor, Op. 39, 1839
Scherzo [No. 4], E major, Op. 54, 1843
Sonata [No. 1], C minor, Op. 4, 1828:
I. Allegro maestoso, II. Minuetto: Allegro - Trio, III. Larghetto, IV. Finale: Presto
Sonata [No. 2], B flat minor, Op. 35 (Funeral March), 1839:
I. Grave - Doppio movimento, II. Scherzo, III. Funeral March, IV. Finale: Presto
Sonata [No. 3], B minor, Op. 58, 1844:
I. Allegro maestoso, II. Scherzo: Molto vivace, III. Largo, IV. Finale: Presto ma non tanto
Sonata G minor, Op. 65, piano and cello, 1846:
I. Allegro moderato, II. Scherzo, III. Largo, IV. Finale
Songs Op. 74, voice and piano:
no 1 Zyczenie [A Young Girl's Wish] G major, 1829 (S.Witwicki);
no 2 Wiosna [Spring Song] G minor, 1838 (S.Witwicki);
no 3 Smutna rzeka [Sad River] F sharp minor, 1831 (S.Witwicki);
no 4 Hulanka [A Drinking Song] C major, 1830 (S.Witwicki);
no 5 Gdzie lubi [A Girl's Desire] A major, 1829, (S.Witwicki);
no 6 Precz z moich oczu [Out of my Sight] F minor, 1827, (A.Mickiewicz);
no 7 Posel [The Messenger] D major, 1831, (S.Witwicki);
no 8 Sliczny chlopiec [The Handsome Lad] D major, 1841, (B.Zaleski);
no 9 Melodia [Elegy] G major, 1847, (Z.Krasinski);
no 10 Wojak [The Warrior] A flat major, 1831, (S.Witwicki);
no 11 Dwojaki koniec [Death's Divisions] D minor, 1845, (B.Zaleski);
no 12 Moja pieszczotka [My Sweetheart] G flat major, 1837, (A.Mickiewicz);
no 13 Nie ma czego trzeba [Faded and Vanished] A minor, 1845, (B.Zaleski);
no 14 Pierscien [The Ring] E flat major, 1836, (S.Witwicki);
no 15 Narzeczony [The Betrothed] C minor, 1831, (S.Witwicki);
no 16 Piosnka litewska [A Lithuanian Song] E flat major, 1831, (L.Osinski);
no 17 Leci liscie z drzewa [Leaves Are Falling] E flat minor, 1836, (W.Pol)
Songs, voice and piano, without opus numbers:
Czary [Witchcraft / Enchantement] D minor, 1830 (S.Witwicki);
Dumka [A Sad Song / Reverie] A minor, (B.Zaleski)
Tarantella, A flat major, Op. 43, 1841
Trio, G minor, Op. 8, Piano, violin, cello, 1829:
I. Allegro con fuoco, II. Scherzo, III. Adagio sostenuto, IV. Allegretto
Variations, B flat major, Op. 2, on Mozart's "La ci darem la mano", piano and orchestra, 1827
Variations brillantes, B flat major, Op. 12, on "Je vends des Scapulaires", 1833
Variations E major, on a theme from Rossini's 'La Cenerentola', for pianoforte & flute, 1824
Variations E major, on "Steh' auf, steh' auf o du Schweitzer Bub", 1824
Variations D major, on a theme of Thomas Moore, piano 4 hands, 1826
Variations A major, Souvenir de Paganini, 1829
Variations E major, from Hexameron on the march of Vincenzo Bellini's "I Puritani", 1837
Waltz Eb major, Op. 18 (Grande valse brillante), 1833 [No. 1]
Waltzes Op. 34 (Grandes valses brillantes): no 1 Ab, 1835; no 2 Am, no 3 F, 1838 [No. 2-4]
Waltz Ab major, Op. 42 (Grande valse nouvelle), 1840 [No. 5]
Waltzes Op. 64: no 1 Db (Minute / Le petit chien), no 2 C#m, no 3 Ab, 1847 [No. 6-8]
Waltzes Op. 69: no 1 Ab major (L'adieu) 1835, no 2 B minor 1829 [No. 9,10]
Waltzes Op. 70: no 1 Gb major 1832, no 2 F minor 1842, no 3 Db major 1829 [No. 11-13]
Waltz E minor, 1830 [No. 14]
Waltz E major, 1829 [No. 15]
Waltz A flat major (Emily Elsner), 1827 [No. 16]
Waltz E flat major (Emily Elsner), 1829-30 [No. 17]
Waltz E flat major (Klavierstuck / Sostenuto), 1840 [No. 18]
Waltz A minor, 1847 [No. 19]
Waltz F sharp minor (Mélancolique) [No. 20: recently discovered]
© This text is for reference purpose only and may not be used in any way or modified without my permission or citation.
BALLADES
Although the term 'ballade' was associated with the French poetry in the 1400s, it was until the 19th century that it was no longer merely used by only poets to tell story. Chopin composed his four ballades during his mature stage after he left his homeland Poland. It is said that Chopin wrote music for the Lithuanian Ballads of the Polish Adam Mickiewicz. Even Schumann mistakenly commented that Chopin's ballades were as programmatic as Schumann's works. This is misleading since Chopin was never interested in music with titles, programs, or characters in the true sense like Schumann. Chopin even did not consider Schumann's Carnival Op.9 music at all. The narrative sequence in Chopin's ballades does not follow any specific format; it is embedded in many unpredictable and creative phrases throughout the music.
Chopin's ballades are pure music in their finest forms without any suggestive narration. Though Chopin was somewhat inspired by the stories of his native Poland and particularly the poems of Adam Mickiewicz, he wanted listeners to follow their own narration through his music. Therefore all analyses on the content of Chopin's ballades are merely suggestions. It is not necessary to know the poem or content to interpret these abstract works. All four ballades are large-scale works, which last from 8 to 12 minutes, in triple time, 6/4 or 6/8, and have poetry, dramatic and contrasting subjects. They all share these common features, but they are no less than individual works and should not be put in or performed as a group. Even Chopin did not intend to do so. He developed individual motives and combined them through innovative modulations for each ballade. In his ballades found many classical forms of sonata, rondo, variations in revised forms and daring flexibility. The ballades combine many traditional forms and creative expressions, but still in classical and academic standard.
The ballades are considered the finest of Chopin's creation and among the most representative of romantic music. Liszt, Brahms, among others, also composed the genre ballade after Chopin, but the musical term ballade is widely associated with Chopin and his ballades are among the most frequently played in concerts around the world. Many pianists found the poetic interpretation of these ballades a real challenge once they have mastered the technical difficulty.Ballade [No. 1], G minor, Op. 23 (Polish), 1833
Composed within several years, finished in 1835, published in 1836, and dedicated to Baron Stockhausen, the first ballade showed Chopin's initial attempt in his formulation of the musical form. It is widely agreed that this ballade was inspired from Mickiewicz's "Conrad Wallenrod". The ballade opens with the strange Largo section in 4/4 and questionable chord D G Eb, which suggests some irresolvable issues that promote the coming first narrative subject in D minor. The first subject is a subtle and simple conversation and long enough to bust in to a stormy and agitated section. After the stormy octaves on the right hand, the 'diminuendo' running arpeggio leads to a silent moment where the C and F seem to look forward to a coming calm and bright scene. So simple yet beautiful is the second subject in Eb major where the 'bel canto' in Chopin shows its best. The question from the first subject arises again but now in A major, suggesting a bigger controversy that the reprise of the second subject replies in its first variation. This variation is more complicated and grandeur with octaves that lead to a mysterious conversation and dance in higher pitch. The modulation through triplets and octaves, followed by the climax in F sharp minor, is still evocative and questionable until the running down of music reinforced by a 'forte' bass Bb. This begins another variation of the second subject, in lower octave and it recalls the previous moments, yet somewhat regretful. The first subject comes again the last time back in its original D minor and leads to the ending coda. The fast and brilliant coda, partly in sonata form, captures all possible dynamic and dramatic elements in music and seems to resolve all questions with the running down of notes to the bottom 'forte' G. Two glissando passages however lead to the climax where the cascading octaves really conclude all the possible doubts and resolutions.
Ballade [No. 2], F major, Op. 38 (La gracieuse), 1839
The second ballade was composed in 1839 during the time Chopin spent with George Sand. Chopin dedicated it to Robert Schumann in return for Schumann's dedication of Kreisleriana Op. 16 to Chopin. The contrast between two subjects has never been shown clearly as in this ballade. It is said, albeit controversial, that this ballade was based on "The pilgrim", Mickiewicz's story of the invasion by warlike nomads and the struggle of young maidens under the form of water lilies. The organization is also clear: two contrasting subjects repeat twice and a coda concludes. The first subject in F major expresses a peaceful time with flowers and grass in the meadow. The music is subtle, elegant but not monotonic. The concluding modulation leads to a key change to A minor with repetitive A notes informing that peace has faded. There comes a sudden storm in the turbulent second subject. The falling and rising arpeggio passages repeat twice in different minor keys and gradually fade out with the a series of slowing phrases in the left hand. The first subject's motif reappears in major scale but it is somewhat less peaceful. Some doubts are raised and lead to the second tempest, which is much heavier and lasts longer than the first with the bold, cold double and single trills. The brilliant and dramatic coda develop through passages of double notes with two final interference of tornados. The storm ends suddenly and the subject reappears the last time, but now in A minor, suggesting that the calm atmosphere and optimism have finally returned, but in such a sad memory.
Ballade [No. 3], A flat major, Op. 47, 1841
The third ballade was composed during 1840-41 and dedicated to Mademoiselle Pauline de Noailles. According to Bourget and Schumann, this ballade was close to Mickiewicz's "Switez", a tragic narration of man's uncertainty and beautiful maiden's deception. Quite different from the first two ballades, this ballade opens with a very long introductory conversation before the main theme appears. This is the most resembling of a dance form among Chopin's ballades. The main theme is so elegant and charming that it recaptures joy and happiness every time it reappears. The second subject begins with the flowing of notes through A flat major and and E flat major, and goes through expressive modulations and trills, which is considered the most charming musical gem among the ballades. The reappearance of the main theme proposes a key change from A flat major to C sharp minor, which leads to an agitated and turbulent section. The theme becomes darker and the storm does not fade out completely; it becomes the background for the main theme to reappear for the last time. A series of rising octaves and chords, a variant from the introduction, leads to the climax of the ballade, and an abridged version of the second subject concludes the work in a triumphant, but still elegant as always, manner.
Ballade [No. 4], F minor, Op. 52, 1843
The fourth ballade is considered the greatest of the four and generally the epitome of of romantic music, which can be compared to 'Mona Lisa' in painting. It is not overstating to say so. This ballade captures almost all elements of musical ideas and human expressions with just the piano; it also summarizes Chopin's lifetime creative experience. It was composed around 1842-43 and dedicated to Madame la Baronne C. Nathaniel de Rothschild. Madame Rothschild invited Chopin to play in her Parisian estate to introduce him to the aristocrat and nobility. The ballade was said to be inspired from Mickiewicz's "Budri", a story of a father sending his sons to fight the enemy but ending up with three wedding feasts. Despite the overall key signature of F minor, the ballade opens with a major key that fades out for the main theme to appear. The main theme in F minor is so haunting and mysterious, yet a little bit sad, and it requires a great sense of rubato to interpret successfully. This Slavonic theme is slightly modified and repeated before a calming and serene octave section. The development section before leading to a silent point uses the same pattern as the main theme but in an opposite way, like an answer to the question proposed by the main theme. That question is still unanswered, as seen in the fading Gb repeating three times and turning to the main theme again. The main theme has for this third time more modification and expression, still elegant yet more powerful with the stormy and dramatic rising octaves that lead to the second subject in B flat major. This major key section seems to follow the motif of the second ballade where peace returns. The next modulation in A flat major is very delicate and it requires a good technique to master the double notes on the right hand and trills on the left hand. This long passage goes slowly and gives way for the return of the opening theme. The returning theme, in A major, slightly moves to the sad corresponding F sharp minor and quickly returns to the original bright key with a passage of grace notes. Then comes a wandering variation of the main theme in a strange tone, which suggests some doubts irresolvable and only relieved until the return of the common theme in F minor. The main theme appears again for this fourth time with many modification and at a faster pace, and so does the second subject, yet in D flat major, after. The recap of the two main subjects leads to a climax of arpeggios and successive chords that end suddenly. Calmness returns in the six 'pianissimo' mysterious chords modulated into C major, but just temporarily. The turbulent coda requires very high technical mastery of double notes. Is is said that this shattering section provokes a scene of horses running into the forest, which is featured in the climbing passages of double notes. The most fiery passage of rolling arpeggios concludes this most dramatic ballade with a 'triple forte' bass F and four massive ending chords.
Barcarolle, F sharp major, Op. 60, 1846
Barcarolle, or boat song, gondoliers' song, had been composed by many composers in the 19th century such as Mendelssohn, Chopin, Tchaikovsky, Faure, Rachmaninoff... During this time, the salon characteristic pieces had been very popular. The title almost reveals the contents of love duets on Venetian rivers. Mendelssohn composed a few barcarolles and organized them in his books "Songs without words". Unlike Mendelssohn, Chopin composed only one, but invaluable, barcarolle toward the end of his life. He started it in 1845, finished in 1846, and dedicated it to Baroness Stockhausen. This barcarolle shares the same features of Venetian boats, water and paddles, and love songs but stands alone as an individual large-scale work and achieves the highest standard in harmony and structure. Many composers after Chopin tried to follow Chopin but just could not succeed. Chopin's barcarolle is favored by many pianists but only a few of them could interpret it successfully. The barcarolle, like a nocturne, is structured in A-B-A form. Its introduction begins with a bass in C# and falling modulation through each key of the main key signature F# major, provoking an air of uncertainty. After a silent moment, the main theme begins with the paddle pattern on the left hand that repeats throughout the first part. The singing melody on the right hand is so ethereal and as beautiful as those of his nocturnes. The main theme is repeated in thirds and sixths, leads to a successive rising chords and fades out from F# major through F# minor to conclude the first section. A solo section on the right hand connects the first section to the second section in A major. The rhythm is now clearer with rocking phrases and modulations from G# to F#. The arpeggios in G# and F# resemble the water drops singing and flying out from the paddles. The movement is getting faster and more agitated with octaves and reaches two climaxes also in G# and F#. The gradual fading and sudden switching of key to F# minor slow down all the agitations, somehow regretfully, yet lead to another more peaceful theme also in A major as an answer to the first part. Then the paddles almost stop rowing, the boat flows freely into the water, and the lovers fall into their dreams. This slow recitation in the bass leads to a sweet transition to F# major again before returning to the main theme. The recap also begins with double trills but it is much more agitated than the first section. Also a series of rising chords leads to the peaceful part from the middle section, but now more passionate, dramatic, struggling and in F# major, not A major, with one octave higher. The coda is a series of modulation and harmony that is far beyond the reality, like rowing over the cloud and flying in the air. The cloud brings the boat back to the river through the striking main key F# and the lovers awake from their dreams with two key octaves C# and F# as a conclusion to this wonderful love duet.
Berceuse, D flat major, Op. 57, 1844
Berceuse is a lullaby, or a cradle song. Dedicated to lady Elise Gavard, this work is a clear example of Chopin’s talent in improvisation and construction of variations. The harmony is just as simple as it can be: one modulation repeated every bar throughout the work. The melody and its fourteen varying accompaniments however are truly a work of art. They resemble flowers and ornaments built on different branches of a tree: beautiful and delicate; therefore the work requires pianists’ mastery of touch to interpret. The main melody opens with a simple single melody line in four bars and then repeated with a lower phrase which together makes the new melody in thirds, sixths and ninths in the next six bars. In the second time, the lower phrase is in double speed for two bars. Then in the next four bars, the melody is repeated in this third time with grace notes and slows down to the trills where the fourth variation is getting faster for four bars. The melody is then modulated in triplets of thirds circling and rising in its fifth variation. Next in the sixth variation, the staccatos of triplets with the last beat missing sound like the rhythm of rocking cradles. The seventh variation has thirds cascading down and melody modulation through the bass A flat. In the eighth and ninth variations, the modulations are moving faster and faster with rising chords in staccatos, and phrases in double triplets in highest octaves before turning down to the successive trills, which rise up two octaves and turn down again for the last time. The dream has gone far away before returning to reality. The last four variations become less and less complicated, and finally revert back to the simplest melody from the beginning, and into sleep.
Bolero, C major, Op. 19 (Souvenir d'Andalousie), 1833
Bolero is a Spanish dance in triple time from the 18th century. Chopin had not visited Spain before he composed his only Bolero for solo piano in 1833. Chopin dedicated it to madame countess Emilie Flahaut, the wife of a diplomat and later Lady Shelburne. The three opening octaves are a little bit odd and appear to successfully catch the audience's attention. A long introduction that follows seems to paint a picture of a Spanish countryside with peasants from far away getting ready for the dances. The main theme starts in 'allegro vivace' in a common rhythm of a polonaise. The dances are faster and more lively than those in the introduction. The second theme in A major is brighter and more operatic and quickly moves to a 'bel canto' passage in A flat major, which shows Chopin's master in melody and harmony. After a short passage in the bass with some modulations, the main theme repeats in the main key and then concludes the work by the abridged version of the second theme in A major. Given that Chopin's bolero was based on Spanish elements, he incorporated his Polish traits and developed his bolero beyond the traditional form set by Spanish composers and guitarists at that time.
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