This study examines Franz Liszt’s Ballade No. 2 in B minor, S.171 (1853) as a work that reconciles narrative expressivity with formal discipline. While frequently interpreted as a programmatic composition, the Ballade demonstrates a carefully controlled large-scale structure shaped by thematic transformation and a highly individualized approach to tonality. Rather than relying on conventional formal models, Liszt develops a musical discourse in which a limited number of ideas under continuous transformation, generating both unity and contrast throughout the piece.
A central feature of the work lies in its directional tonal design, where harmonic movement is not merely functional but expressive and goal-oriented. Tonal regions are interconnected through close relationships, contributing to a sense of progression and coherence that supports the unfolding musical narrative. At the same time, Liszt’s harmonic language—rich in chromaticism and enharmonic reinterpretation—expands traditional boundaries while maintaining structural clarity.
The Ballade ultimately achieves a synthesis between formal rigor and poetic imagination. Its conclusion, marked by a transformation of tonal character, suggests resolution not as a simple return but as the outcome of an extended process. In this way, the work exemplifies Liszt’s mature style, in which innovation and tradition are brought into a compelling and unified musical vision.
