Barcarolle Op.60 in F sharp major composed in 1845-46 The piece is masterful, offering an exploration of numerous affects and emotions.

The beginning introduction creates a sense of uncertainty with regard to direction so that the listener is left questioning what comes next. Then, out of nowhere, a peaceful, serene accompaniment begins and offers a feeling of comfort. Shortly thereafter a simple yet wonderful Italian melody presents itself, reiterating the sense of peacefulness. The A section offers some dramatics, but maintains the aforementioned serenity as a whole. The B section, while still maintaining a smooth accompaniment, offers much greater dramatics than does the A section. Emotions move from initial tranquility, to unrest, sorrow, longing, and back to sweetness just as the transition out of the B section begins. The transition seems to have a wandering character about it, eventually bringing back the familiar left-hand accompaniment and melodic material from the A section. However, the melodic material is varied from its first appearance in the A section, and the return of this material is cut short, therefore this third section is more of an A-prime. The A-prime section is considerably shorter than the A section because an extended Coda is to follow. This format, that is, A B A-prime Coda, is very common in Chopin's pieces. In the Coda the piece culminates into a dramatic climax, and feelings of intense desire are created through the use of ascending sequences and descending chromatics. The Coda eventually turns to a quiescent ending that almost has a bittersweet feeling after the intense material preceding it. A final scale followed by two V-I chord progressions complete the piece with authority. (Tony Nickle) Historically this piece was composed in what some like to call the late Chopin style. it was composed in 1845autumn to 1846-summer) In this style you can hear that he was looking for profound expression with reflective and intellectual traits, and there are many reasons for this. At this point in his life he was very ill and I think was contemplating his soon coming death and that he was reminiscing over his entire past. You can tell the tonal language has become more elaborate by his using thirds in the melody more than one note melody lines. Musically however, this piece can take a person to many different places. The short intro gives you an insight of what to expect in the piece and the piece itself doesn't fail to deliver. The melody itself is enough to lose your self in as it swims back and forth from major to minor and back again. At about 2:30 into the piece there is a solo done by the left hand that signifies that a new idea is coming. And the middle section is different from the first. In some small portions the melody goes back and forth from right hand to left hand. Then at 5:20 into the piece it seems to be a recapitulation, but there is only one note in the melody instead of the melody in thirds, interesting. Then suddenly at 5:40 a trill starts a transition point which eventually ends in the actual recapitulation. Then 6:30 into the piece it seems to be the melody with new energy, like a renewed love for the piece, and the passion increases. Then finally you could find yourself swimming again and getting lost in the arpeggio-like runs up and down the keyboard, until you hit the bottom and this lovely piece ends with excitement in the last remaining chords. An interesting piece indeed! (Jordan Pollard) The piece was performed by Chopin at his last public concert in Paris in February, 1848, where, says Sir Charles Halle, the master played the two forte passages "pianissimo and with all sorts of dynamic finesse," as was typical of his performing style. The piece has the melodic and rhythmic aspects of Mendelssohns "Venetian Boat Songs," though of course on a larger scale. The Barcarolle is evidence of Chopins great contributions in the field of harmony, for example the middle section in A major, which modulates quickly through G# major, F# major and F# minor the transition to the first theme with its strange, chromatic blocked chords (mm. 7678) and the beautiful cadenza on the last page on a G+6 chord. All these fill this gorgeous love song with the vapors of the mysteries of the universe. (Paul Kennedy) Chopin wrote this barcarolle, which was his only attempt in this genre. Chopin has a great admiration for Italian music. The barcarolle had its origins in Venice, when boatmen would sing songs know as "barcarolles". I feel that Chopin enjoyed writing this piece for two reasons. First, he put his personal touch on it as only he could. While he retained many basic functions of a typical barcarolle in it, he added his own "Polish" style and musicales to it. Also, the piece is not overbearing it resembles his nocturnes, in a way. Chopin, being of poor health throughout his life, was frail this type of genre was best suited for him. I can just see him smiling as he finishes this piece!! (I am near the end, about 6:30 through it! (Andy Smith)