In the Hands
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Chopin Ballade No. 3

I wrote recently about the the danger that virtuosity can make us neglect the virtues of simplicity, and even neglect the music itself. That is true not only of a simple masterpiece like the prelude I was talking about, but also of technically difficult pieces — such as the Chopin ballades.

In everything Chopin writes, no matter how complex and virtuosic, that powerful simplicity is there at the core. Although he wrote some very difficult and impressive stuff, the ultimate effect of his music, I feel, should never really be to impress. But that’s exactly what the pianists we usually hear are striving to do: impress the contest judges, the critics, the public. The world we classical performers live in gives us very little room not to play big show pieces, or make everything we play into one.

Chopin’s third ballade suffers particularly from this problem. The ballades are all difficult, but it’s the easiest of them (sort of like the shortest Himalaya). It seems as though all the star performers I’ve heard end up trying to make it as hard as the others by plowing through it with virtuosic flare, and thus trivializing it.

What wonderful music it is that gets plowed under when that happens! I could spend the whole next month talking about this piece, about how Chopin plays with the sense of return, about his use of dissonance as an architectural device, about all those wonderful melodies … but for now, I’ll just leave you with this one thought to perhaps open a mental door: The melody that opens the piece is the stepping-off point for all that follows in the next two and a half minutes, but then it disappears, and the music goes somewhere else entirely. Listen for it. The experience of wanting that melody to return, and it not returning and not returning and then — that’s the force that shapes the piece.

Ballade Op 47 (in A flat major)

So this is my current take on the other, non-virtuosic side of Chopin’s third ballade. I actually recorded this several weeks ago, but found that listening back to the recording and hearing all the little nuances I could play slightly differently, all the little things I want to fix, all the different options in all the takes I’d already done, sent me into a tailspin of endless revision from which there would have been no return save in the back of a van wearing a straight jacket. (I mean me wearing the straight jacket, not the van.) So I give myself a little breather until I could make it through the process of editing, mastering, and posting the piece with my sanity (such as it is) intact.

Gosh, I sure play this piece differently than when I was 21 — more differently than I’d remembered. Better? Heck if I know; it’s too late at night to decide stuff like that. Don’s version is also quite different. And in a few years, I’ll probably play it yet another new way. It’s a cheerful thought: I take great comfort in knowing that it’s not possible for me to ever exhaust the interpretive possibilities of Chopin.

Comments

Nicholas Weininger

This version seems vastly more precise and– pointillistic? not sure if that’s the right word, but you get the idea– than the earlier one. Which immediately makes me wonder: how much of that difference is due to your own style change and/or technical growth, and how much to your new careful recording setup?

Nicholas Weininger
Paul

My technique is better than it was, and I’m pedaling it more crisply in some spots and observing rests better, but the majority of what you’re hearing is almost certainly the recording. The older one, recorded in Janet Wallace, is full of concert hall reverb, which puts a sort of blur over the whole thing. The current recordings, being close-miked in my living room, have almost no reverb at all. They’re actually a hair too dry for my taste, but in the case of piano, I say better too little reverb than too much, and the older one has too much. So what you’re hearing is two sounds that err on either side of the one I’d ideally like!

Paul
Frank

Shall I make a foolish comment ? You may be surprised but I greatly prefer your earlier version of the 3rd Ballade. I’d rather be frank… (no joke)
Now I must tell you why. First, the musical phrase seemed more fluid. There were already plenty of details, especially in the transitions, which is essential.
Second, it’s just a question of taste, I disagree with some of the rubato things in the present recording and I was quite surprised at the measures 71 and 72.
Anyway, I am sure you master this piece and it sounds as though you’re trying to do something new, aren’t you ? aren’t we ?

Frank
Paul

Well, Frank, both then and now, I just play it the way I feel it! So no, I’m not just trying to do something new. If I felt it the same way, I’d play it the same way (as is mostly the case with the preludes I just posted).

I think it’s fair to like the old one better; it’s not that bad. It sounds really square to me now. I think we’re used to hearing things played really straight and literally these days, so the old version may sound more familiar as it tends more in that direction.

I actually play mm. 71-72 that you mentioned (for those without a score, that’s 3:11-3:16) closer to the way they’re notated in the new version, though — those staccatos and accents are right out of the score, and I used to gloss over them more.

So when do we get to hear your version?

Paul
Frank

I promise I’ll send you a copy of my first recordings as soon as I possible. I am currently trying to chose a portable recording system consisting of :
- a laptop : willing to get - rather dreaming of getting - a sony VAIO VGN FS115M
- Edirol UA1000 USB sound card
- a pair of Oktava MK-012 (omni, hyper, and cardio caps): cheap but good?
I need some time to make up my mind and have enough money.
My happier recent repertoire was :
- 1st mvt of the Farewell sonata
- Allegro of Mozart’s K279 C major sonata
- Bartok’s Ostinato (from Mikrokosmos)
- Impromptu n°3 by Chopin
I think I’ll have one of these as a 1st recording.
I am not ready to record any of Chopin’s ballades. That’s why I have much respect for you and the recordings you make.
You’re right to mention that today’s way of playing is quite straight. I must confess that I love Samson Francois performance of Chopin (let me send you some excerpts if you like). And it’s all but straight! I won’t say the name of Zimerman (oops) because everybody knows that he’s done a damned good job.
As I already told you before, your musical approach reminds me of Arrau, and I would not believe that he’s not one of your favorite. And that’s a real compliment to me.
Excuse me for giving pianist names, it’s my fault. I speak too much instead of practicing and showing my views by playing!

Frank
Paul

You’re right, Frank, I do like Arrau very much — and I love Zimerman’s recordings of the other three ballades, especially the fourth … but his third I don’t like at all. Eh. Maybe I just hear it differently than everybody else in the world. I would love to hear Samson François.

Looking forward very much to hearing your recordings, any of the pieces you mention, whenever you have some to share! But one quesiton: if you get a VAIO, how are you going to run Mac OS X? :P

Paul
Charlie

I’d use this recording as an example of the results you’re getting with your recording setup. Maybe it’s just my ear (or just my speakers), but I was really blown away by the clarity and separation you got, especially on the bass runs.

Charlie
Mark

I found your podcast in the classical area and quickly subscribed. After listening to just two of your Chopin pieces I’m glad I did. Well done and thank you.

Paul

Frank: Heard the Samson François version, and it didn’t much grab me … but it turns out that I love his scherzi!

Charlie: Wait until you hear it with the new mastering process.

Mark: Thanks!

Paul
JonLee

I’ve listened to this recording probably well over 20-30 times. Superb playing!!!

JonLee
Michael

Absolutely beautiful playing! It really opened my eyes as to how this piece is transformed and played into something totally different by some pianists. It was superb playing though! Cheers!

Michael
Aristidis

Ahhhh…I despair… and wish for a Teacher of Piano like you………….. you remind me of St. Cortot….

Aristidis
ted

hi [

](…)

ted
ted

my piano techer is the best!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

ted
ted

who are u guys??????????????????????????

ted
Neil Mix

Paul, congratulations on a terrific recording. I’ve been working on this one again lately, and your performance has made me question my understanding of the piece. You draw much more musicality and uniqueness out of it than I’ve been able to, with good results. The narrative story telling foundations of the Ballade “genre” are much clearer in your performance than the typical hyper-technical perfomance you hear these days. Great job – I’m so happy to be hearing this piece with new ears.

Leo

Great job Paul, listening to this recording always puts me in a good mood, and I can’t help smiling at those wonderful melodies.

Leo
smb

Gorgeous with an “old school” sound - that’s a compliment by the way. Love the rolling passages that dissolve into poetry. Everyone’s Chopin differs - some faster (particularly the left hand), some dreamier but yours is consistent thruoghout and that is more important than bravura. I prefer Rubinstein for the ultimate in old school sound. Great job - wish you would record the Brahms C# Minor Intermezzo same day.

smb
Nathan

I think it’s very well played, and I totally agree on virtuosic pianists trying to play it in a way that totally ‘butchers’ it. Your attention to detail is very good. I’m currently learning this piece as part of my second year study at the Birmingham Conservatoire. Because I haven’t been playing it for all that long, there’s not many things I found wrong! If anything, it was a little bit too slow? That’s just down to personal taste though!

Nathan
Adley

I love the Chopin Ballade in A flat. love what you did with it. It really came alive to me.
Adley

Adley
Theresa

What recording devices do you recommend? I am a serious piano student and would like a decent device (willing to pay for it…). You mentioned recording from a lap-top; do the new mac books record well?
Thanks~
Theresa

Theresa
Paul

Theresa: a new MacBook should work fine for recording, but what really matters is the microphones, the audio interface, the instrument, and the microphone positioning.

Here is exactly how I make the recordings in painful detail. What works best is different for every piano and every room, so it takes a lot of experimentation and hard work to a good sound.

Paul
Marlene

The begining was played with so much sensitivity and it sounds like you really love this music. Perhaps too much rubato towards the end.

Marlene
Adam

Hello Paul.

First, I’d like to say you have a marvelous and helpful website here! Quick question: I’m currently learning this piece (Chopin’s Troisieme Ballade) for a state-wide competition and have been wondering, from a professional perspective, would you consider this piece to be “a virtuoso piece”? Earlier you noted this was the least difficult of the ballades. Which is the most difficult in your opinion? I would say that is second is the most difficult, but then again I’ve never playued it (ha ha ha)! Thanks for your time.

Adam
Paul

Adam: The third ballade is certainly a “virtuoso” piece, in that it is difficult and shows off the pianist’s technique. And yes, no doubt about it, it is difficult — the least difficult of the ballades, but that’s sort of like saying “the shortest of the Himalayas.” The second is more difficult, but the difficulty is all fairly straightforward pattern-based passagework. The passagework of the first is much more varied and intricate, and thus harder, but the fourth may actually be the most difficult, because of the last few pages.

However, all four ballades are secondarily virtuosic, and primarily intensely poetic and philosophical pieces. I dislike the fact that their virtuosity tends to dominate in most performances — thus my comments on the blog. I’d much rather hear a poetic ballade than an technically impressively ballade. I mistrust competitions for this reason: I think they overemphasize virtuosity, and teach musicians to play to impress others, to strive for the sort of things which allow judges to rank performances against one another. Those sorts of things are rarely the things that truly matter about music. On the other hand, I have great respect for the musicians who compete in the competitions, most of whom have far more ability than me!

Paul
Adam

Thanks for the response. I agree with your feel on how the ballades should have a healthy balance between virtuosity and poetry. I as a musician find the balance should be leaning to the more poetic side. However, the contestant in me will probably play it more virtuoso-esque during the competition. In your opinion, what part do you find the most difficult? At times I find that key change to be horrendous! When I sight-read it for the first time it completely threw me off guard. But as a listened to it for the first time without having the music around, it didn’t sound like there was a key change at all. Why is that? It almost sounded like a mode change more than a key change. But on a positive note, you play the piece beautifully. I find that the piano gets its point across when played with soul and passion rather than playing the piece quickly (like Murray Perahia… ugh). Play on, Paul!

Adam
Paul

Thanks, Adam. IMO, the toughest part is definitely mm173-183; the rest is not so difficult by comparison.

I don’t like Perahia’s ballades much either, though in general he is one of my favorite pianists. I love his Bach English Suites and Mozart piano concertos!

Paul
Sasha

Paul,

Referring to your first recording of this wonderful piece, I was wondering about how long did it take for you to play? And if so, how long to memorize? Just curious and looking for a comparison to see if I’m an incompetent pianist (ha ha).

Sasha
Paul

Sasha: Oh, I spent a little over a year learning it the first go round, but I’d been playing it on and off for about 9 years when I made this recording … and I’m still not completely satisfied.

Don’t worry about whether you’re learning pieces slowly. The process of learning is half the joy; savor it! Worry more about learning things too fast — if you are, you’re probably missing what is most essential.

Paul
Sasha

Thanks Paul. I feel better now; I’ve memorized it in about 4 months so I’m very pleased =)

Sasha
Marty

To my ear, G. Novaes has the last word so far on this Ballade. As the story goes, in 1909 at the age of 14 she travelled to Paris to compete with 387 other applicants for two openings in the Conservatoire. Novaes arrived two weeks late and was the last to register. She was the last one to play for a jury consisting of Debussy, Faure, and Moszkowski. Her pieces included this Ballade, Liszt’s Paganini Etude in E, and Schumann’s Carnaval. She took first place, and the jury even asked her to repeat the Ballade. There is a 1968 version remastered on Vanguard that excites and inspires.

Marty
Matt

its too slow and monotonous, there’s too much rubato at unimportant parts. the whole thing just isn’t flowing. its not chopin; i dont feel it, the moods are not shifting but stuck. at 3:15 the stacato is completely unnecessary. the tempo is flat. the tone is occassionally harsh and never soothing, and the grace notes are flawed, either too slow or not really grace. sorry

5:20 - 5:40 is dead. im not gonna lie, this isnt musical

at least you didnt miss any notes, esp. at 6:40

Matt
Paul

A critic sans capitals! How very cutting edge.

Paul
Aaron

Paul, very nice recording, and very different to others I have heard.

I am also learning this ballade, and I am having difficulty with the left hand passage in bars 189-191 and bars 197-199. What fingering do you use for the left hand? My score indicates 5-3-1 but I find this too hard at high speeds.

Aaron
David

Chopin Ballades are very hard to play accurately to convince the adjudicators. Although it may seem easy every piece has its own difficulties. For example, this one requires one to voice fantastically, shape beautifully and to bring out everything that Chopin writes in the score. You guys may think that some recordings are bad, but in all you need to realise that they are all good, its just a personal choice. These are concert pieces. Fingering must be chosen very well, or else you cannot play it up to speed swift and accurately

David
Paul

Aaron: 5-3-1 is the fingering I use. That doesn’t mean it’s the only way to go, however. If the 3-1 octave stretch is uncomfortable, you can let your 3 slide to 4 as your thumb reaches, so that the fingering becomes 5-3-1-4-1.

You can also play some of the bass clef notes with your right thumb. I do this in the second half of m189. There’s no rule against it — you just have to be very careful to give the bass clef notes a consistent touch as they trade hands, without compromising the melody. It trades difficulty reaching for difficulty voicing.

Paul
Aaron

Thanks for your reply Paul. At the moment, I am practicing with 5-4-1-4-1-4. I find it uncomfortable playing octave stretches with 1-3 fingering so 1-4 is best for me. What I do is play the low note with the 5th finger, then quickly leap up to the next note with the 4th finger. Then continue to leap back down to the low note with the 5th finger again. The leap can be easy to get correct, but the 1-4 octave stretch is better for me.

I’ll also try practicing using the right thumb to play left hand notes, never thought of that before.

Hope to record this piece one day. Not good enough yet to do justice to it.

Aaron
Paul

I find the 5-4 leap cumbersome, especially when I’m trying to keep it quiet — I’m prone to whacking the 5 too hard. But if it works for you, then go with it!

Paul
Herb Schmitt

Hello everyone, a newbe here!
Started learning B#3 5 weeks ago. I’m 67, been playing for 62 years but just started playing seriously again after 55 yeras of boogie woogie and rock and roll. I started first learning the C# minor part and I am happy I did, seems it makes the rest of it more fun to learn, because when I get to that part, I feel like I have just met a friend. I like to put my own feelings into pieces and I’m glad I dont have to worry about impressing judges.

regards, Herb

Herb Schmitt
Rodrigo

I strongly agree with the point that Chopin music is much more than virtuosistic display. I really love Chopin as he is the only who writes a piece developing the melody despite other aspects such as harmany.
Regarding the recording, I think you shouln’t do so much rubato because it desnaturalizes the expression

Rodrigo
usopen finalist

I disagree with most of your facts. The fact that you can’t even play the piece right through the first ten seconds show how you truly cannot understand this piece to its full potential. How should I know? Im just a guy playing for the US championship after winning first place in a national piano recording.

usopen finalist
Jane

The beginning is just too slow and the ending too fast. Don’t people ever look at the music and care about the rythem while they play?

Jane
Belinda

The LH run part… don’t rubato. It’s there to create this water-like effect… if you pause, it ruins the whole thing. It’s a contrast to the RH that is going on at the same time at that point.

The beginning… you need the line. Music, yes, but that includes line, so you need the right tempo otherwise it still won’t work.

The ending… I don’t think you need to hold the last note that long. It’s presto at the end so I think it should be a big, final ending, if you know what I mean…. like BOOM, end.

And other stuff, but there’s just too much so those are just some points that I can remember right now.

Belinda
Masters in Piano

The recording well, it’s ok…but it lacks certain elements that are essential in revealing the style and character of Chopin’s writing.
Flourishing sections need to have motion and need to sound a little more brilliant. Lyrical sections need much more shaping, better voicing and smoother legato with the fingers - work for you sound.
Pedalling needs to be adjusted based on the acoustics you’re working with, basically the first half is a little dry and you don’t have much ring to your acoustics, it lacks color.
Rubato, well you say you play this how you feel and that’s only supposed to be a part of the interpretation. The other part is actually digging into and analysing the material presented to you and making sense of it. Know why you slow or push in a certain place and be able to substantiate that with reasoning, not just random “oh this is how I feel here today”
What is the delay at 6:15, this is not supposed to be a stagnant area? 6:45 to 7:00 is just messy….8:00 sounds like an old fart is trying to play this piece, where’s the virtuosity???

Masters in Piano
Tommy Jalisco

I have been beating the Op. 23 to death for some years now. I have found that the rhythm is underneath the 6/8. It sounds like a carousel of all things. I sense the rhythm exactly the same in the third here. I am currently listening to this artist. I like it. It is simple. I will try it with Op. 38 and the Op. 53 Polonaise as well. I think I am trying to be too “much.” Thanks for your site! Tommy!

Tommy Jalisco
Paul

Tommy: These pieces are lifelong journeys! They’re never really “done.” There are always new perspectives, new things to discover….

Paul
David

Thank you for your website. I’m a drummer/percussionist and have memorized the 4 Ballades as a personal challenge since dating a pianist at Ottawa University. I’m sure Chopin is rolling over in his grave as I practice but they bring me hours of joy and many great memories (especially the 4th). The comments posted here are encouraging, educational and humbling. Thanks again.

David
Paul

David: I think Chopin would be very pleased to have all of us amateurs treating his music with dedication and respect. He only rolls in his grave when people toss his music off unfeelingly, without listening — or when pianists give up! A dedicated amateur should never feel ashamed about what they do.

Paul
miguel sampol

I’m now inthe process of learning the third ballade. I would like your opinion on best available CD recordings. Thanks.

miguel sampol
Kinar

it sounds really good!

Kinar
Paul

Miguel: I don’t have a favorite CD. No recordings I’ve heard really strike me totally right (including my own).

Paul
Lydia

Miguel: You could try Cortot’s version. The recording quality is not stellar, but the interpretation is poetic.

Lydia
064paparazzi

This is actually too monotonous :(… Some unnecessary rubato…Doesn’t sound like Chopin at all…

064paparazzi
Wil van Velsen, Netherlands

Dear Paul,

Thank you very much for your recording of the third Ballade of Chopin. I Like the recording of this piece of music by George Bolet because of its nice tempo. Most musicians are in a hurry and the way you play one can hear more details of this beautiful piece in the left hand.

Wil. 31-08-2012

Wil van Velsen, Netherlands
Cal

Lovely recording. I’ve been thinking about your ideas about lyricism of Chopin which gets lost in the virtuosic displays.

I’m a piano technician who is learning this piece and is a member of an amateur piano club. Each one of us is tackling a Ballade. I’m enjoying the journey. I find 3 the most cohesive of the 4. It is logical and makes sense from beginning to end.

It is also the most lyrical but also is virtuosic with fleeting dance. It is virtuosic like a ballet. It can be uptempo but also light and delicate.

I understand your concerns about competitions but of all the versions I’ve been listening to, two stand one out. Charles Richard Hamelin’s performance at the Chopin competition and Seong Jin Cho. CRH has virtuosity but also tasteful nuance and delicacy. SJC has very nice touch and tone.

Now the process to find what I see in the music. First I have to reach base camp.

Cal