Ballade No. 3 in A-flat major, Op. 47, dating from 1841, is devoted to Pauline de Noailles. The motivation for this Ballade is usually declared to be Adam Mickiewicz’s poem Undine, also called Świtezianka. There are structural similarities with the “Raindrop Prelude” which was influenced by the weather condition in Majorca throughout Chopin’s disastrous trip with George Sand. These include a repeated A-flat which modulates into a G-sharp during the C-sharp minor area.
The kind of this Ballade is an arch: ABCBA coda. The very first A theme remains in two parts; the very first part is song-like and the second is dance-like. Out of the four ballades, the 3rd Ballade has the tightest structure. This Ballade also uses advancement treatments that succeed at heightening the stress.
Chopin Ballade No. 3 in A flat major Op. 47 Free Classical Piano Music Sheet
The Ballade opens with a prolonged introduction significant dolce (sweet). The intro is thematically unassociated to a majority of the piece however is duplicated at the close and climax of the work. Following the introduction, Chopin presents new theme in a section with the efficiency direction mezza voce; this theme consists of repeated Cs in two damaged octaves in the right hand. This style persists three different times in the ballade, two times on C and as soon as on A-flat. The “mezza voce” area soon develops into a furious F minor chordal area and once again goes back to A-flat. The ‘mezza voce’ section is repeated, following by a brand-new style including right-hand man sixteenth-note leggiero runs. The following return of the damaged octave theme is transposed from C to A-flat (the duplicated Cs now being A-flats). The key signature then moves to C-sharp minor. The initial “B” style is then established, this time utilizing quick, chromatic left-hand runs in the left hand under large chords in the right. This theme develops to a climax through fast repetition of damaged G-sharp octaves (referencing the “mezza voce” style) with fragments of the “B” theme in the left hand. A retransition takes place as the vibrant builds from piano to forte. The figuration in the left hand is chromatic and includes periods often larger than an octave. The key signature then shifts back to A-flat major. In the final area of the arch, the “A” style from the intro is duplicated again in octaves. The ballade ends with a reprise of the A-flat leggiero runs and a second right-hand man arpeggio. 4 chords provide closure to the piece.
|Name Translations:||Ballade No. 3 in A-flat major, Op. 47; Ballade Nr. 3; Balada n.º 3 op.47; Ballata n. 3 op. 47; Balada em Lá bemol maior (Chopin); バラード第3番 (ショパン); Ballada op. 47 (Chopin)|
|Opus/Catalogue Number:||Op. 47|
|I-Catalogue Number:||IFC 7|
|Year/Date of Composition:||1841|
|Dedication:||A Mlle. Pauline de Noailles|