The second appearance of the latter leads to an urging, restless
coda in A minor, which closes in the same key and pianissimo with
a few bars of the simple, serene, now veiled first strain."
Rubinstein bore great love for this second Ballade. This is what
it meant for him: "Is it possible that the interpreter does not
feel the necessity of representing to his audience--a field
flower caught by a gust of wind, a caressing of the flower by the
wind; the resistance of the flower, the stormy struggle of the
wind; the entreaty of the flower, which at last lies there
broken; and paraphrased--the field flower a rustic maiden, the
wind a knight."
I can find "no lack of affinity" between the andantino and
presto. The surprise is a dramatic one, withal rudely vigorous.
Chopin's robust treatment of the first theme results in a strong
piece of craftmanship. The episodical nature of this Ballade is
the fruit of the esoteric moods of its composer. It follows a
hidden story, and has the quality--as the second Impromptu in F
sharp--of great, unpremeditated art.
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