CHOPIN’S THIRD BALLADE

MICHELLE CANN

PIANO
 ABOUT THE ARTIST
Lauded as “technically fearless with…an enormous, rich sound” (La Scena Musicale), pianist
Michelle Cann made her orchestral debut at age fourteen and has since performed as a soloist
with prominent orchestras such as the Atlanta and Cincinnati symphony orchestras, The
Cleveland Orchestra, the New Jersey Symphony, and The Philadelphia Orchestra.

Ms. Cann’s 2022-23 season includes an appearance with the Los Angeles Philharmonic, return
engagements with the Cincinnati and New Jersey symphonies, and debut performances with the
Baltimore, National, New World, Seattle, and Utah symphonies. She makes her debut at Carnegie
Hall with the New York Youth Symphony and performs recitals in New Orleans, Little Rock,
Sarasota, Toronto, and Washington, D.C.

A champion of the music of Florence Price, Ms. Cann performed the New York City premiere of
the composer’s Piano Concerto in One Movement with The Dream Unfinished Orchestrain July
2016 and the Philadelphia premiere with The Philadelphia Orchestra and Music Director Yannick
Nézet-Séguin in February 2021, which the Philadelphia Inquirer called “exquisite.” She has also
performed Price’s works for solo piano and chamber ensemble for prestigious presenters such as
Caramoor, Chamber Music Detroit, the Philadelphia Chamber Music Society, San Francisco
Performances, and Washington Performing Arts.

Ms. Cann is the recipient of the 2022 Sphinx Medal of Excellence, the highest honor bestowed by
the Sphinx Organization, and the 2022 Andrew Wolf Chamber Music Award. Embracing a dual role
as performer and pedagogue, Ms. Cann frequently teaches master classes and leads residencies.
She has served on the juries of the Cleveland International Piano Competition and at the Music
Academy of the West. She has also appeared as cohost and collaborative pianist with NPR’s From
The Top.

Ms. Cann studied at the Cleveland Institute of Music and the Curtis Institute of Music, where she
holds the inaugural Eleanor Sokoloff Chair in Piano Studies.

PIANO
ABOUT THE LESSON
Join Eleanor Sokoloff Chair in Piano Studies at the Curtis Institute,
Michelle Cann, for a deep dive into one of Chopin's most beautiful
concert works, the Ballade No. 3 in A-flat Major, Op. 47. While the other
Ballades boast virtuosic flashy codas, the Third is most notable for its
radiant beauty and lyricism. Cann shares her insights into music and
the challenges it presents to the pianist, drawing from decades of
intimate experience with Chopin's score.

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C H O P I N ’ S M U S I C A L N A R R AT I V E WATCH LESSON

Chopin’s third ballade is arguably the most joyful and optimistic of his four ballades (it’s

the only one ending in a major key). Cann learned it when she was 12, and she was inspired by

its connection with poetry. It’s been speculated that this ballade was inspired by Adam

Mickiewicz’s (pictured right) poem Undine, about a water nymph punishing an unfaithful lover.

From the first bar, there’s a clear sense that a story is about to unfold. The first phrase is a

welcoming gesture, or a question. The left hand responds in the third bar – be sure to give it a

unique personality. Then we get a repeat of the same statement in a lower register, coming to

a resolution in m. 8. Even within such a short section, Chopin has introduced our characters.

After a very calm introduction, we hear a sudden exclamation followed by a short sigh. The

lilting upbeat pattern (m. 10, last beat) is recurring; it’s usually a sign of a dance passage. One

might also think about the rocking of being on the water. The left hand is our descending

gesture, serving as a connective thread between this section, so let it lead here.

04
FIRST THEME AREA WATCH LESSON

The outburst in m. 13 can be even more excited than before. It’s typical of Chopin to add a
brilliant ornament as he did in m. 14, but the music essentially hasn’t changed. You can use two
hands for this chromatic ascent, but there’s a certain struggle inherent in playing it as octaves
in one hand that you might consider (Cann prefers using one hand). Find a good legato
fingering for the top voice in the octave, and make sure the whole ascent feels like one motion.
The rest is important – it’s a moment of lift before we fall down again.

The emotional exclamations continue through into the next page with variation. Part of
Chopin’s genius is how each phrase feels like it’s improvised, despite following a similar
pattern.

In measure 25, the music suddenly goes in a different direction with the introduction of G♭s in
octaves. The most important thing is that we bring attention to this moment, whether we
crescendo through it, make it suddenly loud, or anything else. The trills that follow add
splashes of color on these journeys through tension and release. Identify moments where a
note or series of notes pulls us out of the expected harmonic context. We come to rest in a
very bright and optimistic C major.

The beautiful flying figure in the right hand can sparkle when we bring out the fourths and
fifths. Cann voices to her pinky, hitting with a percussive articulation so the notes sound like
little bells. You don’t want this to be muddled – C major is the magical key that comes back
time and time again.

05
Chopin uses chromaticism to take us back to opening material. He reminds us of this journey

we were about to embark on, but again thwarts our expectations. Expectations are powerful

tools as performers, because if we can identify what a listener might expect to hear and know

when the composer defies that, we locate the moments that deserve special attention. Just

when we think we’re about to go somewhere else in m. 41, Chopin returns to the primary

theme in m. 45.

His final resolution is hushed. Feel the contrast between the solemn bass and the sparkling

upper register at this cadence. Don’t rush through this section.

Chopin’s Cs in octaves at mezza voce are transitional; we haven’t heard this before. Play it as if

you’ve never heard it before, and it will make the journey that much more convincing to the

listener. These octaves remind Cann of a siren call; the nymph is trying to lure the man to his

fate. Imagine motion even within the rest. Technically, Cann makes semi-circles with her wrist

to avoid the music sounding stuck. It should be luring! The first Cs can almost sound like

mistakes that appear out of the A♭, only coming into greater clarity the second time.

SECOND THEME AREA WATCH LESSON

Chopin gave us no way to predict this secondary theme; it’s a charming waltz in C major that

requires great voicing.

06
The main theme appears in the fourth and fifth fingers, so these should sing out clearly. We’ve
seen the two-note figure before, but not yet where the main theme is only the first of the two
notes. Cann practices this first without pedal, looking for opportunities to use legato with the
fingers alone. The pedal then becomes a tool to enhance our legato.

As this theme develops, Chopin develops the anxious, breathless quality of the two-note
motif. In m. 63, however, an inner voice appears as the most interesting element. The pedaling
also changes given the different note lengths in the left hand. We’re moving toward something
a little darker. Finally, the bass has a melody we want to hear in m. 71.

Note the difference between m. 73 and m. 75; first, we have slurred eighth notes, and second
we have accented long notes. Charm and beauty have turned into Sturm und Drang! In m. 82,
the right hand is ferocious, but the left hand preserves our familiar two-note motif. The
accented passage at m. 87 is the first time both hands have made a statement together.
Thinking about the poem, this is the first moment the fated lover sees the darkness in the
nymph. There’s a tug-of-war, but he gets away – the story isn’t over yet.

07
In mm. 90-94, Chopin puts stress on beat 3, considered a very weak beat in 6/8.

6/8 is usually broken into two big beats (1 and 4). Putting weight on the inner beats creates a

syncopated and tense feeling. Show this in your performance as if we’re pushing the time

ahead by coming in a beat earlier than expected.

In m. 95, we finally start showing the expected emphasis, and the music can move forward.

The dominant pedal C through this section is like the constancy of water, and the harmony

above is like the man struggling to get free. Don’t try to fit the grace note in m. 98 in time. Be

expressive with rubato here and make it part of the melody. The high A♭ in the left hand is

usually taken in the right hand, as are any notes you have trouble reaching in this phrase.

Chopin could’ve written the accented note in m. 99 on beat 3, but he didn’t! Once again, he

plays with our expectations and lands squarely on the big beat. He transforms A♭ back into C

major. Cann likes to sustain the C major chord underneath a few of the C octaves this time (m.

103).

08
DEVELOPMENT & CLIMAX WATCH LESSON

Whatever trust our protagonist might have established in the preceding phrases is abruptly
shattered in m. 116. Don’t rush the first grace note (E♭) since this is our connecting thread back
to A♭ major.

This is a section where you can have a wonderful amount of fun with rubato! The right hand
can really show off here. Chopin gets us back to E♭ at the end of m. 117 – he writes a virtuosic
melody full of twists and turns to deliver us there. We should really strive to show this swirly
path and have fun with it. For example, the change from F♭ to F♮ at the beginning of bar 117 is a
powerful moment we can highlight with a touch of rubato and emphasis. Cann will also subtly
lighten a bit as she descends. The interpretative process should be highly personal.

In m. 118, Chopin wants us to jump three full octaves – it’s easy to miss these notes when we’re
nervous. Grace notes can also be intimidating because of how small they’re written and how
fast they tend to go. But romantic music gives us the freedom to stretch and take our time.
Cann will ground herself on middle C and extend upward as if it’s part of the melody.

09
Recognize that our thumb is often the culprit when we get tense, inhibiting the rest of our

fingers. This second time (m. 119), the descent can be more significant and directional, moving

toward the next high G. Then, Cann might play the following ascent (m. 121) a lot more subdued

and tender. The music shouldn’t feel repetitive, but also don’t feel obligated to follow Cann’s or

anyone else’s formula! Sing it and make it your own.

Measure 122 is a gorgeous moment where the left hand leaps up almost three octaves, and a

dissonant E-natural resides in the right hand above. Then we dance for several more bars, a

joyful series of moments. “The twists and turns are everything!”

The most interesting part moves between hands; the left hand is the focus for mm. 125-126,

then back to the right hand, then the left hand again for mm. 129-130. One of the most

beautiful right-hand melodies begins in m. 136. Notice how Chopin enters on beat 3 starting

around m. 137, creating excitement and suspense. He takes it even further in m. 141 by starting

on beat 2.

The siren has been playful and charismatic – but in m. 144, she starts being more intimate, and

her attention is focused on you. Perhaps the protagonist is singing along with her now.

Everything changes in m. 157! It was all a trick. Chopin loves to hint at important changes by

altering one note (in this case, it’s the F♭ in m. 156). Be sure to bring attention to this out-of-

place note.

The right hand is brooding (mezza voce meaning “middle voice,” a bit subdued and less

present). The chromatic, dissonant left hand creates an interesting character, too. Practice the

left hand on its own without pedal. Focusing on the phrasing can help alleviate tension so

we’re singing and focusing on what matters rather than playing mechanically. Make sure the

left hand is an equal partner in how it plays into the melody.

This morphs into a dexterous right-hand passage in m. 165, where the left hand has the

important line. Cann keeps her eyes on the central G♯ and allows her hands to feel the

distance of the octave intuitively. Now, when she adds the left hand, her focus is on the music,

not the notes.

10
Although we add more notes at m. 173, the central idea is the same. Keep your visual focus on
the middle range, and think about where your thumb needs to go. The rest of the fingers will
tend to find their place once they know the shape. Make sure your thirds are solid in m. 174
and then rotate to include the thumb. Cann likes to practice this passage in groupings to feel
each big beat as one arm motion.

Meanwhile, the left hand is also jumpy, though slightly less so. Cann usually looks at the
descending octaves, feeling them linked to the chords. Certainly don’t try to look at everything
– you can’t focus on that much at once! Concentrating on one thing relieves the tension and
makes the other things easier to train. The music is also a series of tension and release – let
the key moments go by a bit more slowly.

In m. 183, show us the pain of the sforzando notes entering on beat 3, and the minor ninth
between A♯ and B.

Keep your wrist and arm flexible for the left-hand passage here – bring your elbow in slightly
to make the rotation easier.

Chopin builds up out of those murky waters toward something else. We’re rising from the
depths as we approach the 200th bar, getting almost dizzy as we ascend. Perhaps Chopin felt
sorry for the protagonist of the poem, who was swallowed up by the ocean and wanted to alter
his version of the story. We can imagine him swirling in a whirlpool at m. 209 and breaking free
at m. 213.

Your right-hand melodies should soar! The left hand isn’t quite as fun – practice in big
motions, keeping your focus on the center point. Phrase each group based on the change of
harmony. Enjoy the twists and turns of this glorious final page – moments of dissonance
followed by triumph.

11
character and analysis

tempo and rhythm

phrasing, technique, and practicing

Watch the tonebase lesson

fingering and pedaling Download plain edition

the most joyful of the four ballades

likely connection to poetry (Undine by Adam Mickiewicz)
welcoming gesture...
story of a water nymph (siren) luring
first character an unfaithful lover to his death

left-hand response

second character

resolution

sudden outburst and a sigh

even more excited than before

“lilting” motif like rocking on the ocean

let the left

hand lead

despite ornament, the fundamental

melody hasn’t changed
5 4 5 4 5 5

struggle of
playing in one
hand is more
fitting
improvisatory feeling: the music is ever-changing though it follows a standard structure

new note: G♭

C major: bright and optimistic

 bring out fourths and fifths; let it really sparkle

return of opening material

listen for Chopin playing with our expectations...

play as if you’ve never

heard it before
bring out the
wide space

OK to let the pedal ring

through the octaves...
 charming second theme
like a siren call...
two-note motif continues, but the theme is just the first note of each

clear, singing melody!

drop into chord, move wrists in small circles to generate lightness

subtle pulsing of the pedal

inner two-note motif is most interesting

quarter-note C instead of eighth note

 bring out left hand

bring out difference in articulation; more intensity

bring out middle voice

ferocious, but with the familiar two-note motif

the protagonist has seen the darkness in the nymph.. a tug-of-war ensues
 enters on beat 3...

this is a weak beat in 6/8

bring out the breathless, anxious

quality of the early entrance
etc.

back to expected
“like the consistency of water”
emphasis on strong beat

dominant pedal point take in right hand

 bring out these added notes in left hand

back to a sense of calm and trust

don’t rush these grace notes!

show every twist and turn; don’t

don’t let grace notes intimidate!

breeze past these runs

stretch the time
melody still

arrives on E♭

the thumb often inhibits

the other fingers

vary your timing and phrasing with each set of grace notes

this music is not repetitive or formulaic

extra-wide jump in left hand

back to right hand

focus travels between hands
 with joyous excitement

one of the most singing right-hand moments! again enters on beat 3

now on beat 2!

give it a slightly rushed energy

siren is less playful and more intimate

bring out
return of second theme

counter-melody

repeated A♭ is a sign that something is coming it was all a trick!

F♭ foreshadows the E♮ practice left hand without pedal

focus on making music

keep eyes on middle G♯
don’t change shape of the hand

focus on making music in the left hand

continue keeping visual field in
practice in groups
center, focus on thumb focus on thirds, then rotate to thumb

concentrating on one thing at a time allows you to

relax and let the other parts become automatic

show this minor ninth rub

accented beat 3
shift your elbow for the left hand stretch

be aware of the location of your third finger

protagonist caught in a whirlpool...

happy ending; he finally escapes!

feel left hand in bigger motions, not five different chords

hands together

opposing dynamics in each hand

 “the final pull”

triumphant and broad