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major (a mediant relationship from the key of the whole work). A major
becomes the Neapolitan of G sharp major (an unusual key!). G sharp major
becomes G sharp minor (a very colorful harmonic motion) which becomes ii
in F sharp major. Like before, F sharp major because F sharp minor, and
Chopin uses a IV (D major) chord over a tonic pedal resolving to V (F sharp
major) a very dissonant, colorful sonority. This whole sequence is very
effective and is heightened by the dramatic accented 4-3 suspensions on the
modulations, and the constant V-I oscillating gesture in the left hand.
Another harmonically progressive passage is in the recitativo-like
passage starting at measure 76. This passage contains highly chromatic
voice leading that I consider to be non-functional harmony. For example,
Chopin uses the following chords in succession, I6, vii42/V, N6, V43/VI, vii43/IV,
iv6, V7, I. These chords really dont follow their prescribed, tonal function.
Chopin also respells the V43/VI chord. This chord in C sharp major is properly
spelled E, G , B, D. Chopin respells it F, A, C, E.
C#:
V7/IV
iv
43
43
6
7
V /VI vii /IV iv V I
V7
I6
vii42/V
V7
I6 vii42/V N6
When the A and C sections return, the piano writing is much thicker.
Some of the pianistic textures are unique for Chopin. The lilting left hand
figure that begins in measure 4 returns in octaves. This is the only time in
The Barcarolle title is important. Chopin only uses this title for this
piece, unlike the majority of his character pieces. Comparing this Barcarolle
to other Barcarolles in the solo piano repertoire, this one is by far the longest
and most virtuosic. Other Barcarolles include three examples in
Mendelssohns songs without words (very short and simple pieces), the
barcarolles of Faure (more contained and less virtuosic), and the first
movement of Bartoks Out of Doors Suite (a short and non-virtuosic work),
and June from Tchaikovskys Seasons suite, (also short and not virtuosic). It
strikes me odd that no other major composers composed a grand, large
scale, virtuosic barcarolle for solo piano, like Chopins. Perhaps they, like me,
regarded Chopins efforts at the genre to be an unsurpassable masterpiece.
This Barcarolle is both one of Chopins most unique pieces, and one of
the most unique examples of a Barcarolle in the repertoire. The uniqueness
of this piece, and the fact that Chopin chose to perform this piece in his last
public performance leads me to believe that he had a particular fondness for
this composition. Structurally, harmonically, and pianistically it is one his
most creative efforts.