The "Barcarolle" is said to originate from the songs of Venetian gondoliers. Characterized by a light movement in 6/8 time, a common feature of many "Barcarolles" is their underlying sentimentality or melancholy. However, it is almost impossible to trace its tradition as a genre. Its popularity likely began with the favored use of this type of song in 19th-century operas. As for works for piano, Mendelssohn left three pieces, including those in his Songs Without Words, while Chopin's is the largest in scale and the finest masterpiece. Furthermore, Fauré wrote 13 pieces, suggesting he approached the "Barcarolle" as a genre. However, since then, works in this form have remained sporadic. Rather than a genre, the "Barcarolle" should be considered one of the character pieces that enjoyed long popularity from the mid-19th to the 20th century.

Chopin's Barcarolle

Chopin's Barcarolle, at first glance, sounds as if the opening theme repeatedly appears in a rondo-like fashion, with various episodes inserted in between. Therefore, a programmatic interpretation depicting a boat tour through the streets of Venice—for instance, the recurring theme corresponding to the scenery of the "Grand Canal"—is also possible. However, the Barcarolle actually possesses a well-structured form among Chopin's works, and features exquisitely elaborate thematic development.

Each section can be divided as follows:

In other words, it is a type of ternary form most frequently used by Chopin, featuring the exposition of multiple themes, a brilliant passage-work middle section, and a recapitulation of themes. However, in this work, the middle section is significantly condensed, and instead of simple repetitions relying on beautiful melodies, skillful thematic arrangements are employed.

The first theme and the first half of the second theme are disturbed by a continuous 6/8 ostinato rhythm, yet their musical content is highly contrasting. The key shifts, incorporating the parallel minor. Furthermore, while the first theme is a descending melody, the first half of the second theme is ascending. The second half of the second theme has no clear connection with the first half other than its key. The brilliance of this theme is still subdued by the dynamics here.

In the middle section, though only five measures long, the 6/8 pulse momentarily ceases, leading to a free flow of time that transcends metrical rhythm. However, this section merely serves to make the listener aware of a different temporal flow, and does not present the characteristic melodic beauty of Chopin's middle sections.

The recapitulation begins with a variation of the first theme, culminates in a momentary rest, concludes with a perfect cadence, and then plunges into the second half of the second theme, remaining in the tonic key. The subsequent recapitulation of the first half of the second theme uses only its latter phrase, occasionally hinting at the sound of the parallel minor, and guides the grand narrative towards its conclusion. This is already the realm of the coda, where the magnificent arpeggiated motive of the second half of the second theme forms the climax, and the multi-layered, descending motive of the latter phrase of the first half brings it to a close. Such use of motives is truly nothing short of brilliant.

Viewed in this way, Chopin's Barcarolle, unlike Fauré's, is not so much lyrical music as it is narrative music, akin to his Scherzos or Ballades, employing a quasi-sonata form. However, what prevents it from falling into a rigid scheme is the skillful "transitions." The three measures of the introduction, the interlude at measures 35-39, and the double-note trills announcing the beginning of each section, precisely because they are largely unrelated to the overall thematic development, capture the listener's ear in just a few measures and dramatically change the musical atmosphere. The whole flows naturally, sounding as if it were a mere succession of ideas, or even lyrical. This work is indeed worthy of being called one of the greatest masterpieces of Chopin's late period, brilliantly fusing narrative and lyricism.