Hyperion Records

Ballade No 3 in A flat major, Op 47
composer
1840/1

Recordings
'Chopin: Ballades & Sonata No 3' (CDH55182)
Chopin: Ballades & Sonata No 3
Buy by post £5.50 CDH55182  Helios (Hyperion's budget label)  
'Chopin: Four Ballades & Four Scherzos' (CDA67456)
Chopin: Four Ballades & Four Scherzos
Buy by post £10.50 CDA67456  Studio Master FLAC & ALAC downloads available
'Chopin: The Complete Works' (CDS44351/66)
Chopin: The Complete Works
Buy by post £50.00 CDS44351/66  16CDs Boxed set (at a special price)  
'Eileen Joyce – The complete Parlophone & Columbia solo recordings' (APR7502)
Eileen Joyce – The complete Parlophone & Columbia solo recordings
APR7502  5CDs Download only  
'The Stephen Hough Piano Collection' (HOUGH1)
The Stephen Hough Piano Collection
Buy by post £4.50 HOUGH1  Super-budget price sampler  
'York Bowen – The complete solo 78-rpm recordings' (APR6007)
York Bowen – The complete solo 78-rpm recordings
APR6007  2CDs for the price of 1 — Download only  
Details
Track 5 on CDA67456 [7'03]
Track 1 on HOUGH1 [7'03] Super-budget price sampler
Track 4 on CDS44351/66 CD4 [8'27] 16CDs Boxed set (at a special price)
Track 3 on CDH55182 [7'59] Helios (Hyperion's budget label)
Track 1 on APR6007 CD2 [6'14] 2CDs for the price of 1 — Download only
Track 12 on APR7502 CD5 [7'35] 5CDs Download only

Ballade No 3 in A flat major, Op 47
EnglishFrançaisDeutsch
After such despondency the Third Ballade seems positively light-hearted. Based on two principal motives contained in the opening bars Chopin’s free-wheeling style once more thinly disguises a remarkable coherence, balance and symmetry. First played before an audience ‘full of golden ribbons, soft blue gauzes and strings of trembling pearls’ its musical charms could hardly fail to succeed. Others, perhaps less lavishly attired, will note that although Chopin’s contrapuntal skill in the working-out section is considerable he wears his learning lightly. With Chopin, art conceals art and the way he achieves such fine gradations and inwardness of feeling is discreetly veiled from view. Even a sudden central change to C sharp minor cannot cloud the music’s radiance for, via a series of daring modulations, the opening theme finally emerges triumphant, firmly established in the home-key and with a final cascade of ideas, previously employed, to suggest tumultuous applause.

from notes by Bryce Morrison © 2004

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