Description
A gorgeous example of a modern piano ballade. Like Chopin’s, it has a sonata-allegro form superimposed on an arch (ABCBA) structure (with a classic reverse recap), but it has many inspired touches of its own. Most strikingly, practically every bar of music grows out of intervallic shapes introduced in the first theme, in ways that are both very sophisticated and very organic. The exposition therefore integrates continuous development, and the introduction of a distinct third theme in the development further blurs expositional and developmental function. Despite the tightness of the writing here and its occasional density there’s a transparency to the musical argument which makes it surprisingly easy to follow; this is one of those things you “get” on the first listen.
On a note-by-note basis the quality of the writing here is masterful. The three basic themes – a chant, a delicate fanfare, a doleful melody – are distinct and memorable while sliding around the same magical space between elegiac and ecstatic (much is owed to the Dorian and Lydian modes). Climaxes are beautifully prepared with lots of deft motivic manipulation, and there’s always a sense of long-range purpose. The harmonic and textural writing blooms with all sorts of colours: Ravelian harmonies, Medtnerian counterpoint, Brahmsian basslines, Debussy’s sense of space. Which is to say it’s a thing all of its own, and it’s fantastic.
[EXPOSITION]
00:00 – Theme 1. A chant, initially in D Dorian, but moving freely into other modes. Contains four motifs/intervallic shapes out of which the entire work will be constructed. The first [Rise] comprises the first three rising notes: D/A/B. The second [Enclosure] comes immediately after: B/G/A. Then we have the descent from C to G in m.3, [Descent]. And finally we have, more subtly, the E/G/E/F/D shape at mm.13-4 [Step].
00:44 [m.17] – Theme 1, with more active accompaniment. Counterpoint of Medtnerian loveliness. See the LH line starting from m.27, which culminates in a statement of [Step] that anticipates its appearance in the RH melody.
01:20 [m.30] – Transition, employing [Step] in the RH over the chromatic bassline movement from m.9.
01:31 [m.32] – Theme 2, in B dorian. Opens with statements of [Rise] combined with a siciliano rhythm. The continuation at mm.33-4 varies T1’s melodic shape.
[DEVELOPMENT]
02:08 [m.44] – Theme 3, in D. [Descent] in the RH (m.45 and similar), [Enclosure] in the bass (m.46 and similar). Occasional blue notes (Eb, Bb) add a lot of character.
02:31 [m.42] – The first clearly developmental episode. [Enclosure], [Rise], [Step] developed organically in the RH.
02:41 [m.56] – Ecstatic statements of [Rise] in its fanfare form. Gradually subsides.
03:05 [m.64] – Theme 3, in E.
03:29 [m.72] – We return into developmental material. [Enclosure] now in RH, [Rise] in the LH.
03:39 [m.76] – As before, dramatic statements of [Rise], with more pungent harmonies. The mood intensifies until we reach the
04:05 [m.86] – dominant preparation. Over an A pedal, arpeggio statements of [Rise] in the RH (beautiful dissonances here), then contrary motion fanfare, then a hair-raising procession of chords (note fun mode switches and tritone relations – very Ravelian) leading to the
[RECAPITULATION]
04:22 [m.94] – T2, now in D Lydian and fff.
04:47 [m.102] – Transition, gradually stilling the mood. [Descent] in the LH, diminuted [Rise] in the RH. Reminds me a little of Clair de Lune’s closing pages.
05:32 [m.111] – T1, freer than before.
[CODA]
06:18 [m.124] – Over arpeggiated accompaniment, [Rise] stated multiple times in D Lydian.