Chopin's Piano Styles: Lyrical vs. Narrative

There are several ways to observe the styles Chopin employed in his piano works, but one possible classification is into lyrical and narrative styles. Representative examples of the former are the Nocturnes and Mazurkas, while typical examples of the latter are the Ballades and Scherzos.

In lyrical compositions, individual phrases and melodic figures are often presented in a list-like manner, with very loose connections, whereas in narrative compositions, one can perceive a sense of introduction, development, turn, and conclusion within a single piece. The reason for this clear dramatic quality is, firstly, the distinct harmonic progression, particularly the well-adhered-to dominant-tonic pattern (the part that moves from turn to conclusion). Furthermore, individual motives may develop through techniques such as variation, inversion, repetition, and expansion; even without the elaborate workmanship found in Viennese Classical sonatas, multiple themes are intricately combined to construct the piece.

In other words, works with a narrative structure, such as the Ballades, Scherzos, and Bolero, create a dynamic and dramatic musical time that inevitably propels from beginning to end, and these elements constitute key points for appreciation. (As an aside, in lyrical works, the listener's ear is allowed to wander within a kind of musical space, where the music subtly transforms yet remains, with no clear sense of return or progression.)

Distinguishing Ballades and Scherzos

Now, where do the differences lie between the Ballades and Scherzos, of which four pieces each remain? It is most evident from the music itself that these genres are closely related within Chopin's oeuvre. Moreover, it seems almost impossible to clearly distinguish between the two genres based on their form. One reason is that these are genres unique to Chopin, and examining the traditions of genres from which they might have originated yields no clues. However, even if they cannot be distinguished by their external musical form, their respective musical content, or rather, the content of their "narratives," differs somewhat.

Characteristics of the Scherzo

Scherzo means "joke" in Italian, and traditionally referred to a bright, light, small-scale piece in a simple form. Even when Beethoven incorporated it into the third movement of his sonatas in place of the minuet, it was still given an extremely rapid and humorous character. Chopin's Scherzos, at first glance, seem to completely contradict this tradition, being dark, serious, and large-scale. However, when compared to the Ballades, it becomes clear how much humor the Scherzos actually contain. In all four Scherzos, more than one extremely rapid and leggiero motive appears, interjecting at various points. Furthermore, contrasts in dynamics, alternating in short cycles, are specified in each section.

Characteristics of the Ballade

Such techniques are largely absent in the Ballades. Each motive and each note is bound by its preceding and succeeding context, allowing no deviation. Somber themes appear one after another, accumulating to form a torrent, ultimately leading to a catastrophic conclusion. This is in contrast to the Scherzos, which relieve this kind of stress with lighthearted melodic figures and almost comical contrasts.

Incidentally, all four Ballades are written in compound duple meter, and the Scherzos in triple meter, which could be considered their only external distinguishing feature. However, since the Scherzos mostly form one phrase every two measures throughout, they still contain the strong driving force of a duple meter.

Origins of the Ballade Genre

The Ballade was the first name Chopin used for a piano work, and it is said to have been directly inspired by the ballads of the Polish poet Adam Mickiewicz. While there are various theories about which specific poem corresponds to which piece, none have been definitively confirmed and remain popular beliefs. However, even if Chopin did indeed compose based on a particular poem, it is unlikely that the composer's true intention was to confine such richly musical and accomplished works to a single storyline, thereby limiting the listener's imagination.

Taking a broader view, ballads as songs were popular around Warsaw in the 1820s, and it is conceivable that this literary genre was familiar to Chopin's intellectual life. In addition, Schubert's ballads and ballad-like arias used in Parisian grand operas also greatly impressed Chopin. Therefore, it should be seen that all these experiences converged to give birth to the unique new genre of the Ballade.

Analysis of Ballade No. 4

Ballade No. 4 differs somewhat in tendency from the other three pieces in that it juxtaposes several lyrical sections rather than adhering to a narrative structure of introduction, development, turn, and conclusion, or a driving force that propels towards a conclusion. Particularly the opening eight measures and the subsequent theme give the impression of continuing eternally, with the melody itself blurred as to where it begins and ends, riding on a gentle harmonic rhythm. However, as this theme is eventually varied, increasing in intensity each time, the "story" associated with this theme becomes clearly traceable.

This piece does not clearly embed the straightforward narrative arc, cadences that always resolve as expected, or exhilarating dramatic qualities found in the other three pieces. What is visible on the surface is merely a thematic arrangement that fluctuates and contracts while gradually elevating the mood. While "an extremely lyrical Ballade" may sound like a contradiction in terms, if this work is called the masterpiece of the Ballades, it is surely due to the magnificent fusion of narrative and lyrical qualities.