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Nicola Frisardi - Brahms: Piano Concerto No.1, Ballades (CD)

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Brahms: 4 Ballades, Op.10 (Kovacevich, Michelangeli, Tiberghien, Zimerman)

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Chopin: Ballade No.1 in G minor Op Analysis

Ballade No. Composer: Heller, Stephen.


Show download edition. The theme is now much more exuberant than before, in strong chordal texture and with some florid embellishment.

Anton Rubinstein

The transformation of its character is reflected in the choice of key a tritione away from the original key of E flat major. The right hand has continuous quavers eighth notes , sometimes in hemiola rhythm e. It continues in E flat major, using tonic and dominant seventh harmony at first. Bars and contain rising sequences. There is an unexpected shift to F sharp minor in Bars , and the bass descends by semitones in Bars , leading to the tonic chord of E flat major in second inversion.

Play it again: conquering Chopin's Ballade No 1

The key of E flat major is reconfirmed by dominant and tonic harmony in Bars , and there is a momentary shift to E flat minor in Bars The harmonic tension is resolved by a V7 — i cadence in Bars The resolution of harmonic tension releases an outburst of energy which continues throughout this passage. The opening bars are based on chords i, ii half diminished seventh, and V7.

The Neapolitan sixth reappears in Bars , and , together with many dominant and diminished sevenths, and some chromatic movement in the bass, but there is no further modulation. There is an extended dominant-tonic progression in Bars , and there are references to the first theme in Bare and The piece ends with stark double-octave chromatic scales, moving in contrary motion to the tonic note Bars , then descending in similar motion Bars , following by concluding tonic harmony.