The problem of form in Romanticism
Romantic composers inherit sonata form, but look for forms that follow a story, a poetic image or an emotional journey. This gave rise to “free” genres: ballade, fantasia, rhapsody, impromptu, symphonic poem. “Free” does not mean without form: almost always these are deformed sonata forms, expanded ternary forms, chains of episodes unified by thematic transformation.
The instrumental ballade (Chopin)
The term comes from the narrative poetic ballad (in Poland, Adam Mickiewicz; the direct link of each of Chopin's ballades to a poem is an undocumented tradition). Chopin wrote four Ballades:
- No. 1 in G minor, Op. 23 (1835–36), in 6/4;
- No. 2 in F major/A minor, Op. 38, in 6/8;
- No. 3 in Ab major, Op. 47, in 6/8;
- No. 4 in F minor, Op. 52 (1842–43), in 6/8.
Common traits: “narrative” compound meter (6/4, 6/8), two main themes of opposite character, transformed returns, a dramatic, virtuosic coda.
Brief analysis of Ballade No. 1
| Section | Key | Content |
|---|---|---|
| Introduction (Largo) | ambiguous, Neapolitan sixth chord (A♭) | recitative in unison |
| Theme 1 (Moderato) | G minor | hesitant melody in 6/4 |
| Transition | → | growing agitation |
| Theme 2 | Eb major (VI) | lyrical, sustained melody |
| Return of theme 1 | A minor | transformed |
| Theme 2 transformed | A major, fortissimo | apotheosis |
| “Waltz” episode | Eb | brilliant figurations |
| Theme 2 | Eb | |
| Theme 1 | G minor | “tragic” return |
| Coda (Presto con fuoco) | G minor | virtuosity, descending scales, final chords |
Note the reversed recapitulation: at the end theme 2 returns first, then theme 1, so the piece ends in drama and not in serenity. Roman numerals are relative to the natural minor (VI = E♭).
Other free forms
- Fantasia: Mozart, Fantasia in D minor K. 397; Schubert, Wanderer-Fantasie D. 760 (four linked movements, all derived from one motif); Schumann, Fantasie Op. 17; Chopin, Fantasy Op. 49.
- Rhapsody: Liszt, Hungarian Rhapsodies (structure of slow lassan and fast friska, from verbunkos music); Brahms, Rhapsodies Op. 79; Gershwin, Rhapsody in Blue (1924).
- Impromptu: Schubert D. 899 and D. 935; Chopin, Fantaisie-Impromptu Op. 66.
- Symphonic poem: term coined by Liszt (13 symphonic poems, including Les Préludes, 1854): a one-movement orchestral program piece, often with thematic transformation (a theme that changes character: lyrical, heroic, martial). Then Smetana (Má vlast, with The Moldau), Richard Strauss (Till Eulenspiegel, Also sprach Zarathustra), Sibelius (Finlandia), Debussy (La mer).
- Double-function form: Liszt, Sonata in B minor (1853): a single movement that is at once a large sonata form and a sonata in four movements.
- Cyclic form: themes that return across movements (Franck, Violin Sonata; Berlioz, idée fixe).
How to analyze a free form
- List all the thematic ideas and give each a letter.
- For each appearance note key, character, transformations.
- Look for the frame: an introduction and a coda; they often correspond.
- Compare with sonata form: where is there a “second theme”? Is there a development? Is the recapitulation regular, reversed, absent?
- Follow the emotional path: climax, returns, tragic or triumphant conclusion.
For a producer
Free forms are the model of film scores and narrative instrumental pieces (post-rock, cinematic, progressive): a limited number of transformed themes (a lyrical theme that returns “heroic” with brass and drums, or “broken” in the minor) gives coherence even to a structure with no choruses. Exercise: write an 8-bar theme and present it in four transformations (lyrical on piano, agitated in the minor with ostinato strings, triumphant in the major with brass, fragmented and slow in the coda).
Related
Sonata form, Monothematic sonata form and other variants, Leitmotif and music drama, Motif and motivic development, Motivic analysis, Nocturne, Scherzo.