"This Ballade, Chopin's third, differs in a striking manner, in form and character, from his earlier ones, and must be counted among his most original creations. The finely intellectual Pole accustomed to move in the most courtly circles of the French capital, will be distinctly recognized in it."
It was, in fact, one of the works Chopin included in the programme of a soiree at the Salle Pleyel on February 21st, 1842, along with other works specifically chosen by him so as not to place too great a demand on his physical strength.
Analogous with Schumann's observation of the Ballade in Ab Op. 47 is a description of the composer himself at that time, left us by one of his pupils, Georges Mathais:
"Slender, elegant, always well turned out with his frock-coat buttoned up to his neck, and usually made of fine cloth, mauve,blue or beige. He had small narrow feet, which were always well shod in patent leather shoes that shone like mirrors. His fingers were long, his hands thin and well looked after. One could say that he was a gentleman to his finger-tips, aristocratic both as man and musician. He was fond of beautiful and distinguished women, and where at a soiree he was asked to play, he liked to be surrounded by them. It was then that he put everything into his playing -poetry, passion and exaltation. In this atmosphere of sympathy and affection his soul responded with all its intensity of chivalry, heroism, pride, tenderness and sorrow."
Indeed, it is a slender, elegant, almost well turned-out phrase which commences this ballade. "Ondine" -a portrait of maidenish enticements, even of Chopin himself, surrounded by such women - distinguished women -as he performs his Ballade.
The poem itself tells of the relationship between that of a youth and a maiden. The former has sworn his devotedness for all time, but the latter, doubting his fidelity, flees, only to return later as a water-nymph.
Most evident in this work are the devices of syncopation, a rhythm derived from the reversal of accents, reticence, sobs and sighs. All lend a particular cajolery and spirit to it.
"It is the schoolgirl's delight" wrote James Huneker." Even in its playful moments there is delicate irony, a spiritual sporting, with graver and more passionate emotions."
Certainly it is a work of contrasting themes and unusual keys. Its development is one of the most compelling and energetic sections composed by Chopin. It reaches such a zenith, that to trace its workings back to its beginnings would only serve to affirm Chopin's supremacy of craftsmanship. Such is its unfolding like some pheonix rising from the ashes.
It has been said of all the Ballades that they are free of any formal design - outpourings - and it is perhaps here, in these very measures, more than in any other, evident that our composer honours form as feeling, its stimulus being more of a sensation than of a structure.
Composed in 1841, it is perhaps in its more capricious moments, indicative of the happiness Chopin had found with Madame George Sand - although much in music can be consciously willed. Of all the four Ballades it appears the most youthful and idealistic, "so peculairly unlike himself in its boyish swagger and light heartedness" as write the writer Israfel, "so young, so sure, and so successful."
PHILLIP WILCHER
April 2002
(Originally published by Music Teacher Magazine)
