The first questioning theme is heard again, and with a
perpendicular roar the presto comes upon us. For two pages the
dynamic energy displayed by the composer is almost appalling. A
whirlwind I have called it elsewhere. It is a storm of the
emotions, muscular in its virility. I remember de Pachmann--a
close interpreter of certain sides of Chopin--playing this coda
piano, pianissimo and prestissimo. The effect was strangely
irritating to the nerves, and reminded me of a tornado seen from
the wrong end of an opera glass. According to his own lights the
Russian virtuoso was right: his strength was not equal to the
task, and so, imitating Chopin, he topsy-turvied the shading. It
recalled Moscheles' description of Chopin's playing: "His piano
is so softly breathed forth that he does not require any strong
forte to produce the wished for contrast."
This G minor Ballade was published in June, 1836, and is
dedicated to Baron Stockhausen. The last bar of the introduction
has caused some controversy. Gutmann, Mikuli and other pupils
declare for the E flat; Klindworth and Kullak use it.
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