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A study of Chopin’s Piano Sonata No. 3 in B minor, Op. 58, with suggestions for performance
Dhuvabhark, Janida, D.M.A.
The Ohio State University, 1992
UMI 300 N. Zeeb Rd. Ann Arbor, MI 48106
A STUDY OF CHOPIN’S PIANO SONATA
NO. 3 IN B MINOR, OP. 58, WITH
SUGGESTIONS FOR PERFORMANCE
D.M.A. Document
Presented in Partial Fulfillment of the Requirements
for the Degree Doctor of Musical Arts in the
Graduate School of The Ohio State University
By
Janida Dhuvabhark, B.A., M.M.
The Ohio State University
1992
Document Committee: Approved by Rosemary Platt, D.M.A., Adviser & Jerry Lowder, D.M.E., Co-Adviser Adviser
Donald Gren, D.M.A.
Co-Adviser School of Music To My Parents
i i ACKNOWLEDGMENTS
I express appreciation to Dr. Jerry E. Lowder for his helpful advice, patience, and encouragement throughout the prepara tion of this document. His time and valuable recommendations are greatly appreciated. I also wish to express my gratitude to Dr.
Rosemary Platt, for her guidance and support during my study in the United States. I am grateful to my present piano teacher, Dr.
Donald Gren, for his helpful contributions to my piano playing.
Deep gratitude is also expressed to my former piano teacher,
Andre Laplante, for his outstanding teaching and inspiration. To
Dr. Lora Gingerich is extended my thanks for her music theory classes during my first year at the Ohio State University.
Finally, I would like to thank my grandparents, my parents, my sister, and my brother for their love, understanding, and encouragement. Without them, I would not have come this far. VITA
July 13, 1962...... Born- Bangkok, Thailand
1984...... B.A. in Music Education,
Chulalongkorn University,
Bangkok, Thailand
1988...... M.M. in Piano Performance
The Ohio State University,
Columbus, Ohio FIELDS OF STUDY
Major Field: Music
Studies in Piano Performance Dr. Rosemary Platt, Prof. Andre Laplante, Dr. Donald Gren
Studies in Piano Literature Dr. Donald Gren
Studies in Piano Pedagogy Dr. Jerry Lowder
Studies in Music Theory Dr. Lora Gingerich
v OHIO College of the Arts______School of Music GRADUATE STUDENT RECITAL SERIES u n i v e r s i t y
SUNDAY, FEBRUARY 26, 1989
8:00 P.M. WEIGEL HALL AUDITORIUM
JANIDA DHUVABHARK, PIANO
This recital is presented in partial fulfillment for the degree Doctor of Musical Arts for Ms. Dhuvabhark.
PROGRAM
Sonata In B-flat, Longo 99 D. Scarlatti Sonata In D, Longo 463
Sonata in G, Longo 103
Sonata In D, Longo 14
Sonata In F, Opus 10, No. 2 L.V. Beethoven Allegro Allegretto Presto
'Abegg" Variation, Opus 1 R. Schumann
INTERMISSION
Fantasle-Impromptu in C-sharp minor, Opus 66 F. Chopin
Three Preludes C. Debussy La Cathedrale engloutie, Book I La fille aux cheveux de I in, Book I Feux d'art if ice, Book II
vi College of the Arts School of Music
UNIVERSITY GRADUATE STUDENT RECITAL SERIES
Thursday, March 8,1990 4:00 P.M. Weigel Hall Auditorium
JANIDA DHUVABHARK, Piano
MING SHAN KONG, Piano
This recital is presented in partial fulfillment for the degree Doctor of Musical Arts for Ms. Dhuvabhark.
PROGRAM
Concerto in A major, K. 488 W. A. Mozart Allegro Andante Presto
INTERMISSION
Sonata No. 3 in B minor, Op. 58 F. Chopin Allegro maestoso Scherzo: Mollo vivace Largo Finale: Presto, non tanlo; Agitato College of the A rts School of Music NrvERsmr GRADUATE STUDENT RECITAL SERIES
Thursday, May 23, 199! 4:00 p.m. Weigel Hall Auditorium
JANIDA DUUVADHAUK, piano
Guest Artists Wei-Ming Hwang, violin Joint Eitzen,cello
This recital is in partial fulfillment for the degree Doctor of Musical Arts for Ms. Dhuvabhark
PROGRAM
Sonata No.5 in F, Op.24 ("Spring"). Ludwig van Beethoven Allegro (1770-1827) Adagio molto espressivo Scherzo-Allegro molto Rondo-Allegro ma non troppo
Sonata in D, Op.94 . . . Serge Prokofieff Moderato (1891-1953) Presto Andante Allegro con brio Dorianne Passenger, flute
Intermission
Trio No.l in Eb, Op.I, No.l Ludwig van Beethoven Allegro (1770-1827) Adagio Scherzo-Allegro assai Finale-Presto
viii College of the Arts______School of Music GRADUATE STUDENT RECITAL SERIES UNIVERSITY Wednesday, May 20, 1992 3:00 p.m. Weigel Hall Auditorium Janida Dhuvabhark,piano
This recital is in partial fulfillment of the degree Doctor of Musical Arts for Ms. Dhuvabhark
Program
Sonata No.59 in Eb, Hob.XVI/49 ...... Franz Joseph Haydn Allegro (1732-1809) Adagio cantabile Finale. Tempo di Minuet
Sonata in F minor, op.2, no. 1...... Ludwig van Beethoven Allegro (1770-1827) Adagio Menuetto. Allegretto Prestissimo
Intermission
Nocturne No.l in Bb minor, op.9, n o .l ...... Fr6d6ric Chopin (1810-1849)
Etude, op.2, no. 1 Alexander Scriabin Preludes, op.l 1, No.5,12, 2,9, 6 (1872-1915)
Suite, op. 14...... B€la Bartok Allegretto (1881-1945) Scherzo Allegro molto Sostenuto
IX TABLE OF CONTENTS
Page
ACKNOWLEDGEMENTS...... i i i
VITA...... i v
FIELDS OF STUDY...... v
RECITAL PROGRAMS ...... vi
LIST OF TABLES...... xii
LIST OF EXAMPLES...... xiii
CHAPTER
I. INTRODUCTION...... 1
PURPOSE...... 3
BACKGROUND...... 3
THE COMPOSER...... 9
CHOPIN’S COMPOSITIONAL STYLES...... 13
II. RELATED LITERATURE...... 20
III. ANALYSIS...... 30
First Movement: Allegro maestoso ...... 35
Second Movement Scherzo and Trio...... 49
Third Movement Largo...... 54
x Finale: Presto, non Tanto 59
IV. CONCLUSION...... 7 2
BIBLIOGRAPHY...... 7 5
BOOKS...... 75
PERIODICALS AND JOURNALS...... 78
UNPUBLISHED WORKS...... 79
MUSIC SCORES...... 79
DISCOGRAPHY...... 80
x i LIST OF TABLES
TABLE PAGE
1. Form of First Movement ...... 37
2. Form of Second Movement...... 50
3. Form of Third Movement ...... 57
4. Form of Fourth Movement...... 60 LIST OF EXAMPLES
EXAMPLE PAGE
1. Mvt. 1, mm. 1 -4 ...... 31
2. Mvt 4, mm. 9-12...... 31
3. Mvt. 1, mm.41-46, 2nd theme, Motive A, B ...... 32
4. Mvt.1, mm. 41-44, 2nd theme, Motive C ...... 33
5. Mvt 4, mm. 9-12...... 33
6. Mvt. l,m. 29 ...... 38
7. Mvt 1, mm. 23-24 ...... 39
8. Mvt 1, mm. 43-44...... 41
9. Mvt 1, mm. 52-56 ...... 42
10. Mvt 1, mm. 57-58 ...... 42
11. Mvt 1, mm. 66-71 ...... 43
12. Mvt 1, mm. 72-75 Bridge passage ...... 44
13. Mvt 1, mm. 76-84 ...... 45
14. Mvt 1, mm. 84-89...... 45
15. Mvtl, mm. 35-37 ...... 46
16. Mvt. 1, mm. 146-147 ...... 47
xiii Mvt 1, mm. 151-154 ...... 47
Mvt 1, mm. 131 ...... 48
Mvt 2, mm. 1 -5. Scherzo section, 50
Mvt 2, mm. 61-70. Trio section... 51
Mvt 2, mm. 48- 60 ...... 51
Mvt 2, mm. 61-80 ...... 52
Mvt 3, mm. 15-16 ...... 55
Mvt. 3, mm. 1-4. Introduction...... 56
Mvt 3, mm. 5-8. Section A ...... 56
Mvt. 3, mm. 29-32. Section B...... 56
Mvt 3, mm. 99-102...... 57
Mvt 4, mm. 1 -8. Introduction...... 61
Mvt. 4, mm. 9-13. First theme..... 61
Mvt 4, mm. 28-35...... 62
Mvt 4, mm. 52-58...... 63
Mvt 4, mm. 76-80 ...... 64
Mvt 4, mm. 96-99, Transition ..... 65
Mvt. 4, mm. 100-104...... 65
Mvt 4, mm. 119-122...... 66
Mvt 4, mm. 143-146 ...... 66
xiv 37. Mvt 4, mm. .167-170 ...... 66
38. Mvt. 4, mm. 183-191...... 67
39. MvL 4, mm. 207-210 ...... ]..... 67
40. Mvt. 4, mm. 226-229 ...... 68
41. Mvt. 4, mm.254-255. Coda ...... 68
42. Mvt. 4, mm. 279-286 ...... 69
xv CHAPTER I
INTRODUCTION
As a teacher, Chopin (1810-1849) was strict, unusual, encouraging, and at times inspiring. As an inventor of musical shapes and technical design, he seems limitless. He realized that the pianoforte was capable of beautiful sounds. As he says at the beginning of his treatise:
Music is the expression of thoughts through sounds, the revelation of emotions by means of these sounds. The undefined human voice is an undefined sound; undefined speech is music. The word was born of the sound; the sound had existed before the word. The word, in a sense, is a variation on the sound. Sounds are used to create music, just as words are used to create language.1
Among composers of the Romantic period, Chopin has always been one of my favorites, After playing Chopin’s sonata no. 3 for my recital in Winter, 1990, I was inspired to research the piece.
Chopin’s mastery of miniature forms is generally acknowledged by music scholars. In the nineteenth century, the popularity of his smaller works such as preludes, nocturnes, etudes, and mazurkas almost overshadowed that of the larger works.
1 2
Hadow criticizes Chopin’s abilities to write in large forms:
His limitations are plain and unmistakable. For the larger types of the art, for the broad architectonic laws of structure on which they are based, he exhibited an almost total disregard. His works in “Sonata form,” and in the forms cognate to the sonata, are, with no exception, the failures of a genius that has altogether overstepped its bounds.2
It has been in the past few decades that Chopin’s compo sitions in large form have begun to be appreciated. Walker discusses
some features of Chopin’s form which were formerly considered
weaknesses:
One of Chopin’s chief contributions to the history of sonata form, and one which has been widely misunderstood, is the intense compression of his recapitulations...Another notable feature of Chopin’s large scale structures, and one which is likewise misunderstood, is that they often reserve their most extreme, tension-raising contrast until the end 3
Today the popularity of performing Chopin’s large works seems to be increasing. The sonata in B minor is long anddifficult. It takes a tremendous degree of hard work in order to perform not only with virtuosity but also to project aspects of musical style such as colorful harmonic progressions, touching melodies, or striking pianistic effects often used by Chopin.
Purpose of the Study
The purpose of this document is to provide a general study of the B minor sonata, including a structural analysis and elements of the music as well as a discussion of performance problems. Because there is limited information on this work, I will provide my own analysis and discussion of the sonata. It is hoped that this study will provide recommendations and insights for other pianists and pedagogues.
B ackground
In Chopin’s solo piano compositions the traditional sonata form does not occupy a prominent position. Finck defends Chopin’s use of sonata form:
The psychology of the sonata form is false. Men and women do not feel happy for ten minutes as in the opening allegro of a sonata, then melancholy for another ten minutes, as in the following adagio, then frisky, as in the scherzo, and finally, fiery and impetuous for ten 4
minutes as in the finale. The movements of our minds are seldom so systematic as this. Sad and happy thoughts and moods chase one another incessantly and irregularly, as they do in the compositions of Chopin, which, therefore, are much truer echoes of our modern romantic feelings than the stiff and formal classical sonatas. And thus it is, that Chopin’s habitual neglect of the sonata form, instead of being a defect, reveals his rare artistic subtlety and grandeur.4
He wrote three piano sonatas which span almost his entire career. The first, Sonata in C minor, Op. 4, was written in 1828 when he was 18, under the supervision of his teacher, Josef Eisner.
It is dedicated to Eisner and is rarely played. Chopin admitted that it was an immature early work and was furious when it was published in 1839 by a Viennese publisher. It was written in the same period as the Fantasy on a Polish Air, Op. 13 (1828), the
Variations on “La ci darem la mano,” Op. 2 (1828), and Krakowiak,
Op.14 (1828).5
The second sonata in B flat minor, Op.35, was written in 1839 when Chopin was 29. It contains the “Marche funebre” (third move ment) that is one of the most familiar of all musical selections throughout the world. Chopin wrote to a friend at the time “ I am writing a sonata in B-flat minor, in which you will find the funeral march that you already know.”6 It was a clear indication that the famous movement had been written sometime before the rest of the work. The sonata was published in 1840 by Breitkopf & Hartel, and it is the most distinctive of the three sonatas. Robert Schumann, music critic as well as composer, considered the title of sonata inappropriate: “The idea of calling it a sonata is a caprice, if not a jest, for he has simply bound together four of his most reckless children; thus under his name smuggling them into a place into which they could not else have penetrated.”7 Other works of this mature period (1831-1840) include the Ballades in G minor, Op. 23 (1836) and F, Op. 38 (1838), the Fantasie-lmpromptu, Op. 66 (1834), the
Etudes, Op. 25 and Trois Nouvelles Etudes (1835-40), the Preludes,
Op. 28 (1838-39) and Scherzos in B minor, Op. 20, B-flat minor,
Op. 31 (1837) and C-sharp minor, Op. 39 (1838-39).8
The third sonata in B minor, Op. 58, was composed during the summer of 1844 at Nohant five years before his death. It was the only work he produced during the same year of his father’s death and was one of the compositions of his last and greatest period (1841-
1849), including the F minor Fantasie, Op. 49, the A-flat Ballade, Op.
47, and the F minor Ballade, Op. 52, the Polonaises, Op. 44 and Op. 53 and the Polonaise Fantasie, Op. 61, Nocturnes Op. 48, Op. 55, Op. 62, and the Mazurkas, Op. 50, no. 3, and Op. 56, no. 3.
Chopin dedicated the B minor sonata to one of his pupils and friends, the Countess E. de Perthuis, who was the wife of an aide-de camp to King Louise-Philippe, the man to whom he had dedicated the
Mazurkas, Op. 24.9 Although it was published in June,1845, by
Breitkopf & Hartel and somewhat earlier by J. Meissonier (Paris) and
Wessel (London) the year after it was written,10 it was not played often in public probably owing to its immense technical difficulties.
In his own public performances, Chopin limited himself to Mazurkas,
Preludes, the Barcarolle, and similar pieces due to his failing strength, as well as to his intimate manner of playing. Chopin’s physique and temperament were not designed for a virtuoso career.
As he told Liszt, “I am not fitted to give concerts. The crowd intimidates me; I feel asphyxiated by its breath, paralyzed by its curious looks, dumb before the strange faces....”11
Musicologists and critics who compared the B minor sonata, with classical examples of the sonata form took very small views of its unusual structure.12 Karasowski wrote that “the composer seems to have found it difficult to keep the profusion of thought within due proportions.”13 7
The sonata contains four movements which are arranged in the same manner as op. 35: Allegro, Scherzo, Largo, and Presto. Unlike others, the movements show few breaks with traditional arrange ment of Fast- Slow- Fast. Both the B-flat minor sonata and B minor sonata were revolutionary in their application of classical concepts of structure, motivic development, and counterpoint to the unique
Romantic idiom. There is structural unity in the work, a unity which
Walker calls “ all the more remarkable at this stage in musical history. The revolution effected by Beethoven and the early
Romantics had pushed back the frontiers of musical language so far that major problems of structural integration arose.”14
The first movement, Allegro maestoso, contains thematic and harmonic invention. The form is unconventional in that the recapitulation omits the first subject completely. The opening theme, according to d’lndy’s analysis in hisCours de Composition
M usicale “... has the stamp of true nobility.”15 Huneker suggests that the ending is not that of a sonata but a love lyric.16
In the second movement, Scherzo and Trio (marked Scherzo molto vivace), as in the B-flat minor sonata, Chopin placed the scherzo in the second movement rather than the third, creating greater contrast and structural tension. Perahia believes that the rhythm is the main unifying idea between the scherzo and trio sections.17
The third movement, marked Largo, is in ABA form. It relates to nocturnes in style and is somewhat Italian in character. It contains one of Chopin’s most beautiful melodies, and “the central section has all the caressing grace of the author’s best works.”18
The Finale, marked Presto, non tanto, is a rondo-like movement and is difficult to play. Many commentators say that this is one of the most effective works among large-scale masterpieces.
Weinstock writes: “ Nothing else in the corpus of Chopin’s work, the
F minor Fantasie alone excepted, is so uninterruptedly, waxingly and unmistakably great music as the finale.”19 9
The Composer
According to Heine, “Chopin is the great inspired tone-poet who properly should be named only with Mozart, Beethoven and
Rossini.” 20
Chopin the composer has been discussed, admired, adored, and exploited in many ways. Liszt was among the first biographers who wrote about the position Chopin deserved to take among the world’s great composers. Liszt states that: "If it were our intention to discuss the development of piano music in the language of the schools, we should dissect his magnificent pages, which afford so rich a field for scientific observation.”21 Anton Rubinstein, one of the greatest pianists at that time, wrote
The pianoforte Bard, the pianoforte rhapsodist, the pianoforte mind, the pianoforte soul is Chopin. Whether the spirit of this instrument breathed upon him, or he wrote upon it- how he wrote for it, I do not know, but only an entire going over of one into the other could call such composition into life. Tragic, romantic, lyric, heroic, dramatic, fantastic, soulful, sweet, dreamy, brilliant, grand, simple, all possible expressions are found in his compositions, and are sung by him upon this instrument in perfect beauty. 22 10
Fryderyk Franciszek Chopin (Frederic Francois) was born in
Zelazowa Wola, Poland, on March 1,1810, and died in Paris on
October 17,1849.23 He was the son of a French father, Nicolas Chopin
(1771-1844), and a Polish mother, Teklajustyna Krzyzanowska
(b.1782). He spent his early life in Warsaw where he studied with
Adalbert Zywny (1756-1842) who imposed upon Chopin the discipline of Bach and the works of Viennese Classical composers.
At the Warsaw Conservatory he studied with Jozef Eisner (1769-
1854) who became his master in harmony and counterpoint.
From an early age Chopin’s talents were popular in the leading
Polish aristocracy. He made successful public appearances not only in Warsaw but also in Vienna. He continued his reputation when he moved to Paris in 1831. However, an image of his homeland, its national rhythm, dances, and passion, were always reflected in his music.
Chopin made a comfortable living from teaching and from selling his music to publishers. He enjoyed the friendship of some of
Europe’s leading composers such as Kalkbrenner, Cherubini, Rossini,
Bellini, Berlioz, Schumann, Mendelssohn, Liszt, and Hiller. He was also acquainted with Musset, Heine, Delacroix and Mickiewicz. 11
Among the brilliant society women with whom he shared friendships were Princess Belgiojoso and the Countess Delfina Potocka. The success of his concerts in Paris firmly established his outstanding position. Even in England Chopin’s reputation was recognized. A review from the Musical World pays tribute to his position:
It is impossible to deny that he occupies a foremost place among the piano-forte composers of the present day...In Paris... his admirers regard him as a species of musical wordworth, in as much as he scorns popularity and writes entirely up to his own standard of excellence... The Parisians regard him as a demigod.24
After the break in 1837 with Maria Wodzinska, a Polish girl of an important family, Chopin found himself increasingly involved with the novelist, George Sand (Aurore Dudevant). Their ten-year relationship created productive years for Chopin. The sonata in B minor was composed in this period (1844). After ending the relationship in 1847, partly due to family intrigues involving George
Sand’s children, he composed little more. His health declined rapidly and he lost his interest in composition. The last year he accepted an invitation to England from his wealthy Scottish pupil, Jane Stirling.
He died later in Paris on October 17,1849. 12
Chopin’s legendary reputation as a performer and improviser was based on his appearances in fashionable society drawing-rooms.
Unlike most composer pianists of the time, he disliked public concerts. As a composer, he always found difficulty in transcribing his thoughts. As his contemporary, Karl Filtsch writes in a letter of
1842:
The other day I heard Chopin inprovise at George Sand’s house. It is marvellous to hear Chopin compose in this way: his inspiration is so immediate and complete that he plays without hesitation as if it could not be otherwise. But when it comes to writing it down, and recapturing the original thought in all its detail, he spends days of nervous strain and almost terrible despair. 25
His compositions were written primarily for the piano. He drew much of his inspiration directly from its sonorities, translating them into idiomatic languages culled from symphonic and operatic literature. In the early nineteenth century, Italian opera played a part in Chopin’s musical ideas. He also admired Bach and
Mozart, but lacked appreciation for Beethoven. John Field, the Irish musician, speaks of Chopin’s ability as “a sick-room talent .”26 It is assumed that Field’s compositions influenced Chopin, but Chopin’s lyrical gift is noticeable in his compositions before he had knew of 13
Field.
Although Chopin has frequently been criticized for a weak
sense of form, he made a strong contribution to pianistic style
through his lyrical, flowing melodies, the delicacy of his touch,
dynamic shading, and pedalling. Chopin’s influence was immense on
several different levels. Liszt and Wagner owe much to Chopin’s
chromatic harmonies. He also influenced Brahms and other late
Romantic composers. In the early twentieth century, Rachmaninov,
Scriabin, Faure, and Debussy are also indebted to Chopin’s keyboard
inventiveness.
Chopin’s Compositional Styles
Gerald Abraham divides Chopin’s development as a composer into three main periods:
First period: The evolution of musical personality (1822-1831)
Second period: The mature style (1831-1840)
Third period : The last phase (1841-1849)
The first period consists of immature works written between
1822 and before his arrival in Paris in September, 1831, including the Variation on “ La ci darem la mano,” the Krakowiak, and the
Sonata in C minor. The two piano concerti (F minor and E minor), the 14
Opus 10 Etudes, and Grand Polonaise, Op. 22, are considered to be
the most significant “border-line” works written during the
transition period from 1829 to 1831. According to Schonberg,
Chopin’s genius evidently appeared even in the early period:
...Up to his arrival in Paris he had been exposed to very few of the new concepts sweeping Europe. From John Field he had absorbed a few things, and also from Flummel. But his style and his harmonic structure, his way of treating the instrument, his use of functional ornamentation (unlike so much of the music of Liszt and other virtuoso, nearly all of Chopin’s bravura passages... and all, in his maturity...have a melodic rather than a purely bravura function,) his amazing harmonies and modulations, the piquancy of his rubato, his use of folk elements in the mazurkas and polonaises...all these he had developed on his own by the time he was twenty-one. He was one of the fantastic geniuses in history.27
In tracing the development of Chopin’s style, it is important to keep in mind the various purposes for the compositions Chopin wrote in his roles as pianist, teacher, and composer. Chopin’s career as a concert pianist began in 1328 and was firmly established by the time he settled in Paris (1831). It was for these concerts that he wrote two concerti and other music for piano and orchestra. After
1835 there were very few concerts. He spent most of his time in teaching. The smaller, easier pieces such as Nocturnes, Waltzes, Mazurkas, and Preludes, were frequently written for his pupils and often dedicated to them. These are generally moderately difficult, but make the most of an amateur’s technical capacity both in the brilliance of rapid finger passages and in the sentimental expression.28 These pieces were composed throughout his lifetime and provide an interesting study of Chopin’s development in miniature form. His income was sufficient to allow him to devote his time to playing and composing for his own satisfaction and for a few intimate friends.
The mature period (1831-1840) includes two Ballades, the Op.
25 Etudes, the Preludes, Op. 28, the first three Scherzi, and the
Sonata in B flat minor, Op. 35. According to Abraham, the dividing line between the second and the third period is much less clearly defined and less easy to justify:
Nevertheless, while many of the third period compositions are hardly distinguishable from those of the second period...in his last nine years Chopin produced a number of works more powerfully conceived, more organically constructed (at the risk of being misunderstood, I am tempted to say ‘more symphonic’) than any he had written before...29 The third period (1841-1849) includes the Sonata in B minor,
Barcarolle, Op. 60, Berceuse, Op. 57, Fantasie in F minor, Op. 49, G flat Impromptu, Op. 51, Polonaises, Op. 44 and Op. 53, a number of
Mazurkas, and other short pieces. According to Abraham, this period is the most distinguished output in terms of harmony, melodic line, contrapuntal writing, and the art of keyboard facture- a perfect embodiment of all the outstanding features of the new style of piano writing: percussive-singing, melody, use of the pedal, chromatic filigree work over a diatonic foundation, and contrast of registers.30 REFERENCES
1. J. Kleczynski, Chopin’s Greater Works, cited in The Legacy o f C hopin, Jan Holcman, (New York: Philosophical Library, 1954), p. 5.
2. W. H. Hadow, Studies in Modern Music, Second Series., cited in Chopin: The Man and His Music, Herbert Weinstock, (New York: Alfred A. Knopf, 1949), p. 169.
3. Alan Walker, editor, Frederic Chopin: Profiles of the Man and the Musician, (London: Barrie and Rockliff, 1966), pp. 242-243.
4. Henry T. Finck, Chopin and Other Musical Essays, (New York: Books for Libraries Press, 1972), p. 42.
5. Gerald Abraham, Chopin’s Musical Style, (London: Oxford University Press, 1941), p.1.
6. Bernard Gavoty, Frederic Chopin, translated by Martin Sokolinsky (New York: Charles Scribner’s Sons, 1977), p. 232.
7. Weinstock, op. cit., p. 238.
8. Abraham, op. cit., p. 43.
9. Weinstock, op. cit., p. 274.
10. Maurice J. E. Brown, Chopin: An Index of His Works, (London: Macmillan Press, 1972), p.160.
17 18
11. Oscar Thompson, editor, The International Cyclopedia of Music and Musicians, 11th ed. “Frederic Francois Chopin,” by William Murdoch, (New York: Dodd, Mead & Company, 1985), p. 412.
12. J. Robison, Program notes, Chopin Sonatas, Wladyslaw Kedra, (Westminster 18882, U.S.A.)
13. G. C. Ashton Jonson, A Handbook to Chopin’s Works, (London: William Reeves, 1908), p. 252.
14. Walker, op. c it, p. 250.
15. Charles Stanley and Ernest Werner, Program notes, Chopin Sonatas, Guiomar Novaes, Vox 7360, 1952, U.S.A.
16. James Fluneker, Chopin: The Man and His Music, (New York: Charles Scribner’s Sons, 1901), p. 300.
17. Murray Perahia, Program notes, Chopin Sonatas, Murray Perahia, Columbia 32780, 1974, U.S.A.
18. Stanley and Werner, op. cit.
19. Weinstock, op. cit., p. 276.
20. Edgar Stillman Kelley, Chopin The Composer. His Structural Art and its Influence on Contemporaneous Music, (New York: Cooper Square Publishers, Inc., 1969), p. 5.
21. Ib id
22. Jonson, op. cit., p. 17.
23. Stanley Sadie, editor,TheNew Grove Dictionary of Music and Musicians, 6th ed. s.v.,“Fryderyk Chopin,” by Arthur Hedley, J. E. Brown, Nicholas Temperley, and Kornel Michalowski. (London: Macmillan Publishers Ltd., 1980), p. 292. 19
24. Ibid, p. 296.
25. Ibid.
26. John Gillespie, Five Centuries of Keyboard Music , (New York: Dover Publications, Inc., 1965), p. 220.
27. Harold C. Schonberg, The Great Pianists from Mozart to the Present, (New York: Simon and Schuster, 1963), p. 138.
28. Sadie, editor, op. cit., p. 299.
29. Abraham, op. cit., p. xii.
30. Ibid., p.102. CHAPTER II
RELATED LITERATURE REVIEW
To begin research of the literature, two principal data bases were explored. The first, the Library Control System (LCS) is the computerized catalog and circulation system that links all libraries on the OSU campus and also incorporates the catalog of the State Library of Ohio. The second source was Dissertation
A b stra cts. Other sources included the music library card catalogs, music journals, discography, Music Indexes, and RILM
Abstracts (Repertoire Internationale Literature Musique). My search of the sources yielded very little information on my research topic.
Due to the lack of information regarding Chopin’s Sonata in
B minor, Op. 58, I decided to provide my own analysis and discussion of the work. It is hoped that this study will be helpful to other pianists and pedagogues in gaining a better understanding of the sonata.
20 21
General Literature:
Huneker’s Chopin: The Man and His Music is a good introduction and discussion of Chopin’s output, although the writing style is a little out of date.
A 1905 book by Jonson, A Handbook to Chopin’s Works, for the
Use of Concert Goers, Pianists, and Pianola-Players, is a collection of remarks selected from the writings of various pianists, critics, and authors such as Frederick Niecks, Franz
Liszt, James Fluneker, Moritz Karasowski, Jean Kleczynski, and
Anton Rubinstein.1
An early work by Dunn attempts to establish the appropriate pianistic treatment of the rich ornamentation to be found throughout Chopin’s works.2
In Chopin by Henri Bidou, translated by Catherine Alison
Phillips (Alfred A. Knopf, 1927), includes a biography, and musical analysis in every chapter. Bidou cites an opinion of
Chopin’s music expressed by Vincent d’ Indy, who describes the B minor sonata: “It is unfortunately quite lacking in constructive power and coordination of ideas,....but most of the actual ideas are truly brilliant in wealth of melodic invention.”3
Edith J. Hipkins wrote How Chopin Played from
Contemporary Impressions Collected from the Diaries and Note 22
books of the Late AJ.Hipkins’m 1937. According to Hipkins,
Chopin never played his own compositions twice in the same manner, but varied each according to the mood of the moment.4
Abraham’s work, Chopin's Musical Style, describes the unfolding and maturing of Chopin’s musical mind. Abraham discusses Chopin’s use of form:
Chopin’s form is generally considered to be his weakest point. It was also the weakest point of all his contemporaries. And, of course, compared with Beethoven’s -a fantastically unfair comparison... his sense of form is primitive, being limited almost exclusively to the possibilities of more or less modified ternary form.5
Most of the piano works are carefully analyzed by Abraham, and an index is included.
Hedley describes Chopin’s use of melody
The tone which Chopin drew from the instrument, especially in ‘cantabile passages,’ was immense ...a manly energy gave to appropriate passages an overpowering effect- energy without coarseness; but, on the other hand, he knew how to enchant the listener by delicacy- without affectation.6
Hedley’s 1947 book is one of the most important contributions to understanding Chopin literature. Hedley also includes chapters on Chopin as a pianist, teacher, and composer, 23
as well as a discussion of some major works.
Gide’s 1949 work, Notes on Chopin translated from the
French edition by Bernard Frechtman, will interest the general music lover. It includes a discussion of problems of performers who misunderstood Chopin’s music. Gide offers performance suggestions for Chopin’s piano music:
In general, for Chopin’s music, the performer ‘adopts’ too rapid movement. Why? Perhaps because Chopin’s music is not in itself difficult enough and the pianist is bent on showing off, as if it were much more difficult, when one attains a certain mastery, to play quickly than to play slowly. Above all through tradition. The performer who, indeed, for the first time, would dare to play Chopin’s music in the proper Tempo, that is, much more slowly than is customary, would really be bringing out its meaning for the first time, and in a way capable of playing his audience into a deep ecstasy: which is Chopin’s due. The way he is usually played, the way all the virtuosi play him, hardly anything remains but the effect.7
Weinstock (1949) provides a useful biographical section in his work which is longer and more detailed than Hedley’s. This is followed by a complete listing of Chopin’s works and explained in detail in the author’s introductory section on form. According to
Weinstock, the first movement of the sonata in B minor, Allegro maestoso, opens with a theme sufficiently broad and ample in 24 character, and sufficient in rhythmic and harmonic implications to serve as the opening of a long composition. Many critics, however, have felt that this section is overburdened with ideas, poorly constructed to support them, but this is due in part to the old insistence that Chopin never learned how to use sonata form.8
Cortot discusses Chopin’s pedagogy in his book, which also includes a bibliography and discography section. He writes that
For Chopin it was essential that his pupils should put the whole of their souls into their playing, and he made this significant remark, ‘Music that has no underlying meaning is false.’ 9
Brown’s Chopin, An Index of His Works in Chronological
O rde r, is a thorough and exhaustive thematic catalogue which lists the complete works of Chopin. Information for each composition includes full particulars of publication, dedication, location of manuscript, and other related details.10
Harasowski provides interesting essays on Chopin’s life and music in his 1967 work. The biographies, collections, correspondence, and documents are written by distinguished scholars.11
Among the most valuable sources of Chopin’s music in
English is Alan Walker’s collection of essays by noted Chopin scholars, Frederic Chopin: Profiles of the Man and Musician, 25 published in 1967, 2nd ed., in 1979. The essays include a brief biography by Arthur Hedley, historic background by Arthur
Hutchings, a section on “Chopin’s Influence” by Paul Badura-
Skoda, “Chopin and Musical Structure: An Analytical Approach”, by
Alan Walker himself, and chapters on various groups of pieces by other noted authors. Nearly all of Chopin’s compositions are discussed and many of them received detailed analysis.12
Higgins provides a very helpful source for the pianist to interpret Chopin’s works. The article also provides a comparison of tempos of autographs and printed editions. The author’s dissertation suggests performance practices for Preludes, Op. 28,
Ballades, Op. 38 and Op. 47, and Scherzi, Op. 31 and Op. 54.13
The recent 1980 edition of Grove’s D ictionary is an excellent source by current scholars: Arthur Hedley, J.E. Brown,
Nicholas Temperley, and Kornel Michalowski. It also provides some revealing analyses of Chopin’s compositions.14
Methuen-Campbell provides an excellent source for Chopin music lovers in his book which includes an index, discography, and bibliography.15 The first chapter summarizes Chopin’s playing and teaching as well as that of his contemporaries, such as Liszt and Clara Schumann. The second chapter is devoted to the pupils of Liszt, Leschetizky, and Chopin. The remaining six chapters are divided by nationality of Chopin’s playing to the present day. According to the author, it appears that the Russians have a special affinity for Chopin’s works, and there have been many great Chopin players from Russia, as well as from Poland and
France. Methuen-Campbell quotes Rachmaninov’s statement about
Rubinstein’s use of pedal during a performance of the B minor sonata:
The pedal has been called the soul of the piano. I never realized what this meant until I heard Anton Rubinstein, whose playing seemed so marvellous to me that it beggars description. His mastery of the pedal was nothing short of phenomenal. In the last movement of the B-flat minor sonata of Chopin he produced pedal effects that can never be described; for anyone who remembers them they will always be treasured as one of the greatest of musical joys.16
A special Chopin Edition in the Spring, 1981 issue ofThe
Piano Quarterly generally provides many studies of Chopin’s music.17 It includes “an overview of Chopin’s piano music” by
Adam Harasowski, “Ballads and Ballades” by David Witten,
“Chopin’s Tempo Rubato in Theory and Practice” by Walter Robert,
“Chopin’s Practices” by Thomas Higgins, “How did Chopin Want his Ornament Signs Played” by Thomas Fritz, “Arpeggiation in
Chopin-lnterpreting the Ornament Notations” by George A.
Kiorpes, and a Bibliography by Maurice Hinson and Frank E. Kirby.
A 1985 work by Samson is a useful source of information 27 regarding the complexities of Chopin’s piano music. The author also suggests works and composers that influenced Chopin’s harmonic, melodic and structural style. It also includes a biographical sketch, illustrations, musical examples, extensive bibliography, lists of works, and composition index.18
Perhaps the most recent enlightening sources in detailed documentary and analytical studies of the music of Chopin is
Samson’s 1988 book, which contains 10 essays representing the leading scholars in the field.19 The first three essays are concerned with Chopin’s intentions as revealed in autograph sources. The next four discuss different analytical aspects of
Chopin’s musical language, and the final three essays are case studies of individual works such as the Preludes, Op. 28, the
Barcarolle, and the Fantasy, Op. 49. REFERENCES
G. C. Ashton Jonson, A Handbook to Chopin’s Works, (London: William Reeves, 1908), 287 pp.
John P. Dunn, Ornamentation in the Works of Frederick Chopin, (London: Novello and Company, Ltd., 1921), 75 pp.
Henri Bidou, Chopin, translated from the French by Catherine Alison Phillips, (New York: Alfred A. Knopf, 1927), pp. 208-209.
Edith J. Hipkins, How Chopin Played, (London: J. M. Dent & Sons Ltd., 1937), p. 7.
Gerald Abraham, Chopin’s Musical Style, (London: Oxford University Press, 1941), pp. 44-45.
Arthur Hedley, Chopin, (London: J. M. Dent & Sons Ltd., 1947), p. 120.
Andre Gide, Notes on Chopin, translated from the French by Bernard Frechtman, (New York: Philosophical Library, 1949), pp. 36-37.
Herbert Weinstock, Chopin: The Man and His Music, (New York Alfred A. Knopf, 1949), p. 27.
Alfred Cortot, In Search of Chopin, (New York: Abelard Press 1952), p. 29. 29 10. Maurice J. E. Brown, Chopin: An Index of His Works, (London: Macmillan Press, 1972), pp. 159-160.
11. Adam Harasowski, The Skein of Legends Around Chopin, (Glasgow: William Maclellan, 1967), 383 pp.
12. Alan Walker, Frederic Chopin: Profiles of the Man and Musician, (London: Barrie and Rockliff, 1967), 334 pp.
13. Thomas Higgins, “Chopin Interpretation: A Study of Perform ance Directions in Selected Autographs and Other Sources,” Ph.D. Dissertation, The University of Iowa, 1966.
14. Stanley Sadie, editor, The New Grove Dictionary of Music and Musicians, 6th ed., “Fryderyk Chopin,” by Arthur Hedley, J. E. Brown, Nicholas Temperley, and Kornel Michalowski, (London: Macmillan Publishers Ltd., 1980), pp. 292-312.
15. James Methuen- Campbell, Chopin Playing: From the Composer to the Present Day, (London: Victor Gollancz Ltd., 1981), 289 pp.
16. Ibid., p. 129
17. Robert J. Silverman, editor, The Piano Quarterly, 113 Spring 1981.
18. Jim Samson, The Music o f Chopin, (London: Routledge & Kegan Paul, 1985), 243 pp.
19. Jim Samson, editor, Chopin Studies, (Cambridge: Cambridge University Press, 1988), 258 pp. CHAPTER III
ANALYSIS
Analysis is an important tool for the performer in any music, especially in a complex, problematic, large-scale work such as the Sonata in B minor. Walker defines the role of analysis as explaining
...what, on an intuitive level, we already know to be true. It rationalises musical experience. It succeeds the ‘leap in the dark.’ It helps one to understand one’s musical understanding.1
He discusses structure and performance problems, stating that
...there are no aspects of structure that are not, at the same time, aspects of interpretation. Tempo, dynamics, note-duration, agogic accents, rubato, etc.- all these things are functions of musical structure. That is the great lesson of musical analysis. A musical structure contains the answer to the problem of its own interpretation. A great interpretation is never “applied” from without; it always emerges from within.2
Walker also emphasizes the importance of the performer, stating that
30 31
Musical analysis becomes a dead letter once the performance is forgotten. It is the player who makes music live; the more he knows about the way it hangs together, the more successful he will be in this task.3
In general, the B minor sonata has motivic unity, a unity which is “all the more remarkable at this stage in musical history.”4 The opening notes of the first movement have much in common with the theme in the last movement. In fact, the same pitches and intervals are present in both themes (Example 1 and 2):
Example 1: Mvt. 1, mm. 1-4.
Example 2 : Mvt. 4, mm. 9-12.
A gitalo Emphasizing the idea of unity makes an appropriate start
for analyzing this sonata. While the themes are contrasting, there
are many underlying structure links. As pointed out earliei, the
theme of the last movement is closely related to the opening.
There is another close connection between these two themes via the second theme of the first movement. Labeling the opening
motive A and its answer B, we find both in the second theme
(Example 3):
Example 3: Mvt. 1, mm. 41-46. Second Theme, Motives A and B
P
‘U . ■no.
3 5 p PP at
The character and mood of the second theme are different from the first theme even though they are structurally related.
Labeling part of B as C (see example 4) 33
Example 4: Mvt. 1, mm. 41-44. Second Theme, Motive C
sostenuto
44 SZ.
* a strong link is created to the last movement (see example 5):
Example 5: Mvt. 4, mm. 9-1 2. 34
Kelly recommends caution in the analysis of Chopin’s music:
One can never be too careful in analyzing Chopin’s compositions, for even in his episodes and passage- work many a measure, apparently non-essential, proves on inspection to be constructed with surprising ingenuity. Pianists should bear this in mind; for, by bringing out the inner voices, which deserve as careful enunciation as those in a Bach fugue, they will disclose new beauties otherwise overlooked.5
The score used for this analysis was the Polish edition, edited by I. J. Paderewski, which is the complete edition of
Chopin’s works in 20 volumes, including an additional six volumes of instrumental parts.6 35
First Movement: Allegro maestoso
The design of the first movement is suggestive of sonata form but lacks the first theme in the recapitulation (See Table 1).
The interesting and characteristic point to be noted in this movement is that the first theme is developed to such a large extent that the recapitulation virtually begins with the second subject.7 The first theme of the Exposition is in B minor, but the second theme is in D major in the Exposition and appears in B major in the Recapitulation. Harasowski suggests that
...the composer seems to have found it difficult to keep the profusion of the thought within due proportions. In the development of the first theme there is a want of repose which is only made up for by the wonderful cantilene in D major.8
Walker emphasizes the difficulty of performing this movement:
...structurally the movement is very treacherous. Its ‘geometry,’ superficially so simple, is far more elusive than that of the first movement of the B flat minor sonata. ...The movement unfolds such an astonishing prodigality of themes, each with its own highly individual propensities, that it can easily degenerate into a shapeless muddle even under experienced hands. It is a ticklish problem to get those themes into the right primary and subordinate relationships to one another- to see the structure in toto. ...The movement only takes shape when you have set in motion its long-range, basic tempo, the ‘pulse behind the pulse’ which continues to assert itself even where it is not currently in use, a tempo which 36 may be discarded or resumed at will in order to ‘point’ the structure, a tempo against which the performance may brake and accelerate according to immediate, spontaneous needs.9 37
TABLE 1
Form of the First Movement
Section TemDO Measures Keys
Exposition Allegro 1-93 B minor maestoso -First theme 1-40 -long transition -Second theme sostenuto 41-56 D major groups (e molto 57-60 espressivo)* 61-65 66-71 -bridge passage 72-75 -Closing theme 76-93 D major
Development 94-1 50 -summary of exposition’s long transition
Recapitulation 151-204 -Second theme sostenuto 151-185 B major -Closing theme 186-197 B major -Codetta 198-204 B major
*Henle Edition 38
A falling ninth from G to F sharp is a powerful opening. The
very first statement and the orchestral textures of the first page
(mm. 1-10) prepare for a work of large proportion. The challenge
begins at measure 1 7, with the arrival of the second theme 24
measures later. Huneker comments that “the first page, to the
chromatic chords of the sixth, promises much. There is a clear
statement, a sound theme for developing purposes, the crisp
march of chord progressions, and then the edifice goes up in
smoke.”10
In marking the fingering, the only mark given by Chopin is
for the left hand in measure 29 (see example 6)
Example 6: Mvt. 1, m. 29.
- bm a
The long and agitated transition follows a stormy opening which prepares a beautiful melody in a new key, often in the intervallic relationship of the third rather than the fifth in the music of the nineteenth century composer. 39
The second theme arrives at measure 41 in D major. As Huneker describes “...there is morning freshness in its hue and scent, and, when it bursts, a parterre of roses...”11 There is a canonic foreshadowing of the second theme in measures 23-24,
(Example 7):
Example 7: Mvt. 1, mm. 23-24.
Most of the passage is virtuosic forte passage work which needs careful pacing of tempo and dynamics all the way through the arrival of the second theme.
After the heroic opening and the virtuosic transition, setting the proper mood of the sustained second theme may be difficult for the performer. It is lyrical in character, but hardly considered to be a point of relaxation after the preceding structure. It is more a climax point of the arrival than of relaxation. 40
It grows continuously to the development section, involving a number of subsidiary themes along the way. According to the score, Chopin has not helped the performer with any dynamic indication. The only marking is “sostenuto” above the melody. In the fifth measure after the second theme appears, it reappears one-half step higher. If the beginning of the theme is to be played loudly, what is to be done five measures later? Performing double fortissimo on a lyrical theme is uncommon.
One solution is to consider the importance of the harmonic structure for the left hand and the slow rhythm, which is in D major for three measures (mm. 41-43). In order to achieve proper balance between melody and accompaniment, one should play the first low D very strongly and use half pedal until the second low
D, allowing the second phrase to enter at either a slightly louder or softer dynamic level (m. 45).
The use of pedal, in any of Chopin’s works, is very delicate, and affected by many factors, such as instrument, touch, tempo, or acoustics of the room.
An interesting tenor counter-theme which some performers emphasize appears in the third and fourth measure (mm. 43-44), see example 8: 41
Example 8: Mvt. 1, mm. 43-44.
sostenuto 3 '"— £ L = 2.
41 3 A 1 3 -fr>F- >frr»f= * f - i * =c is. Iu>. 2ia. i I | ^ . -4-—-... .. f A . --M.. -j 1 i ^ r------r1------= f*-----= iJ------!—!LL—1---1---1d . , " T - j & t } ? -p-f- r-f rf r-fff-sj y _ y ^ in ■Is. T.a 47 A The Paderewski Edition has the double-stems, unlike the Henle Edition. The resolution in the middle of the eighth measure of the theme (m. 48), also begins a new phrase. The note A is both an end and a beginning, and Chopin has marked a long slur over the second and third phrases (mm. 47-50). This overlapping point 42 requires attention during performance. During my preparation of this movement, my teacher suggested that the A in measure 48 be played softer than the G sharp in order to resolve the G sharp and the preceding phrase. He also recommended that I think harmonically in order to have a sense of continuity in rhythm.12 The first section of the second theme group comes to an end with a flourishing sweep (mm.52-56)(see example 9). This is followed by a second section of the second theme group which opens with the intervals of the opening theme of the piece (example 10) Example 9: Mvt. 1, mm. 52-56. i5 * Example 10: Mvt. 1, mm. 57-58. (legato) The third section of the second theme group arrives four measures later. The natural heroic theme (mm. 61-65) leads into a chromatic section (mm.66-75). It is one of the interesting spots where the performer pays attention to the beauty of the notes in detail, but may lose the idea of the section as a whole. The score is marked “leggiero,” and indicates a soft dynamic level, with an interesting descending stepwise sequence (mm. 66-71). Example 11: Mvt. 1, mm. 66-71. 44 These elements (mm. 66-71) combined with the chromaticism and the succeeding bridge passage (mm.72-75) may tempt the performer to slow the tempo. In order to avoid such a tempo change, the performer should conserve energy and try to relax the tension for the next closing theme, see example 12. Example 12: Mvt. 1, mm. 72-75 bridge passage. • K 1 Jt 1 — mi n 5rtU ’ .! ; t r m * m ¥ — • • * - ’ * ' f------luf J 7 7 cresc. - — -— ip -i— t i H - J jf jW -* —#------.-zd.-: ...... —-—— 3 —J — Xu>. *5— l * =5* 5 3' v - 75 - T-. f The closing theme begins at measure 76 (example 13), creating another point of mood relaxation in the movement. The theme is supported by 1 6th-note arpeggios for the left hand. The theme contains a complete second voice, appearing as sixteenth notes contrasted to quarter notes and eigth notes for the uppermost theme. The performer must avoid exercising excessive rubato in the embellishing triplets which might interrupt the flow of the melodic line. 45 The end of the exposition (mm.84-89) seems to be a continuing point to the next section. A ritard makes continuity to the development section less successful (see example 14). Example 13: Mvt. 1, mm. 76-84. rit. dolce Example 14: Mvt. 1, mm. 84-89. 85 46 The development section begins at measure 94. Many versions of the first theme are heard. A big climax “forte” (m.117), followed by an extreme contrast of “piano” in the same measure, leads into the second melody of the second theme group (mm. 57-60) which is presented in measure 118, and also in m.123 and 124. Generally, the development emphasizes the difference between the first and second theme groups by the sharp contrast at m. 11 7. The performer may find difficulties in the sudden changes of dynamics, and tempo, as well as the fingering. Division of notes and octaves between the hands frees a hand to prepare a wide leap or direction change of both hands. In the figuration of mm. 146-147, the problem of notation is found. In the Exposition, this passage consists of three measures (mm. 35-37), but here are only two measures, (see example 15 and 16) Example 15: Mvt. 1, mm. 35-37. Exposition . d im . Mjl 1_2 47 Example 16: Mvt. 1, mm. 146-147. Development d im . 146 As in the B-flat minor sonata, there is no first theme in the recapitulation. The recapitulation starts in m. 151 in B major, with the tempo indication of “sostenuto.” Some of the agitated transition material of the exposition (mm. 17-40) from the first theme to the second theme is recapitulated, but the major tonic is not heard until the restatement of the second theme (m.151), reaching the real goal of the development (example 17). Example 17: Mvt. 1, mm. 151-154. sostenuto 151 M. 48 The transition from the development section to the recapitulation of the second theme is reminiscent of the opening motive A from measure 131 on (see example 18). Example 18: Mvt. 1, mm. 131. 130 The recapitulation of the second theme and closing theme groups is similar to the exposition, with the exception of the codetta mentioned earlier. There are many changes in the rhythm of the actual themes, characterized by adding /subtracting dotted rhythms and shortening /lengthening note values. Some performers choose to emphasize the second theme’s arrival of the recapitulation section by playing it in a somewhat grander style than in the exposition. The recapitulation is similar to the Exposition, with an additional six-measure codetta, and has the same performance problems as discussed earlier. 49 Second Movement: Scherzo and Trio As in the B-flat minor sonata, Chopin ignores the tradition of placing the Scherzo as the third movement, inserting it as the second movement, thereby creating greater contrast and structural tension as well.13 It is in E-flat major instead of the expected key of D major, perhaps another way of asserting the B major ending of the first movement.14 This is due to the enharmonic effect of Eb = D#, suggesting the major third of the B major triad. Huneker speaks of this movement as “vivacious, charming, light as a harebell in the soft breeze. It has a clear ring of the scherzo, and harks back to Weber in its impersonal, amiable hurry.”15 (The harebell, also called “bluebell,” is a plant with bell-shaped blue flower). The overall form of the Scherzo and trio movement can be seen as follows: 50 TABLE 2 Form of the Second Movement Section Tempo Keys Measures Scherzo Molto vivace E-flat major 1-60 via E-flat=D-sharp to Trio B major 61-156 S cherzo E-flat major 157-216 There is a close structural link between the scherzo and trio section found in example 19, and 20. Example19: Mvt. 2, mm. 1-5. Scherzo section. SCHERZO Molto vivace - ''1 3 t » S * 3 1 3 4 1 ^ ______•— 0— p . ------1 ^ ^ j . V I ■h r 0 t -P-T— Q g -J — E -i------;— .— h w i " ' leggie 5 ------m Z Z A ^ ■ \ ------* ------i ------h >— ^ —T— — »------f 1 , T ------t— 5— S— “------L~...... J- ...... 1 T7 — la. W la. la. * A motivic structure is found at the soprano part m. 61-64. (see example 20) 51 Example 20: Mvt. 2, mm. 61-70. Trio section. The movement starts with a series of figures for the right hand that move up and down on the keyboard, supported by a few accents by the left hand. At m. 49, the left hand plays along with the right hand in parallel motion, it is the first time of the movement indicated “forte”. The continuing accents (mm. 53-60) create the perfect ending of the Scherzo section with “fortissimo” marking (see example 21): Example 21: Mvt. 2, mm. 48-60. c re sc . Perahia believes that the rhythm is the main unifying element between the scherzo and trio section, and his performance reflects this.16 He plays the Scherzo slower than the standard range of tempos and the Trio faster than standard to retain the same pulse throughout the movement. Most pianists, including myself, attempt to follow the Molto Vivace indication and play the Scherzo as fast as possible. It would make the Trio absurd if it is played at the same tempo as the Scherzo. The movement is usually treated as a standard Scherzo and Trio, with the Trio taken at the slower tempo. The trio section in B major (mm. 61-156) presents few problems for the pianist. It is full of tied notes. The melody should be projected, and the fingers have to be ready before playing the notes. One can take a little time between phrases. The example below represents the solution in the movement. This section concerns lyric possibilities of simple chords and long melodic line. Example 22: Mvt. 2, mm. 71-80. Despite the contrasting textures, the Scherzo and Trio are both somewhat light in character. This Scherzo is very different from Chopin’s four independent Scherzos. Presently, the replacement of this brilliant and flamboyant movement between the first and third movements is a stroke of genius. The first movement contains very rich thematic material, and the third movement is also extremely rich, in a different way from the first. The character of this second movement, with its brilliance and drive, makes this sonata less intense. According to one writer, the Scherzo movement is like “a flexible movement, yet at the same time abrupt and languid, like a candle flame vacillating under a breath.”17 54 Third Movement: Largo Liszt describes this slow movement as “accentuated, measured swaying and balancing.”1,8 The slow movement is a long poetic monologue that also retains the atmosphere of Chopin’s keyboard improvisation. Chopin always gave the impression that he was improvising when he played the piano, even at a public recital. The rhythms of this movement constantly change between regular and irregular, predictable and unpredictable. The long middle section focuses on a winding melodic line. It is a long musical structure made of simple materials, but with successful effects. Huneker writes that “The Largo is tranquilly beautiful, rich in its reverie, lovely in its tune. The trio is reserved and hypnotic.19 Perahia writes in the notes of his own recording: This movement tries forcefully to dispel any trace of anxiety. Its theme is almost exclusively built on just the notes of the triad. To call this simplicity banal, as some commentators have done, is, I think, to miss the tragic essence of its simplicity. The middle section, in the subdominant key of E major, is an echoing of some very simple harmonies, sounding much like an improvisation.20 55 Compared to slow concerto movements by other composers, this movement is a rather long and difficult for the performer to maintain the proper mood throughout. During my preparation of this movement, I concentrated on the balance between hands, and sustained the melody by allowing the body to move along the musical lines. There might be a few problems for the pianist with small hands at mm. 15-16. The following example is representative of the type of note distribution solution useful in these measures. Example 23: Mvt.3, mm. 15-16. dim. PWM The tonic key of the second movement enharmonically transforms E-flat into D-sharp at the opening of the third movement (Largo), revealing Chopin’s sense of modulation and his prodigious resources of invention.21 Four dramatic introductory measures precede the expressive melodic line, shown in example 24: 56 Example 24: Mvt. 3, mm. 1-4. Largo f t The movement is in A-B-A form. The first A section is in B major. It has a beautiful melody, and is not very problematic to perform successfully. The B section requires more color under the arpeggiated figuration for the right hand. This part can be played a little faster in order to project the sense of continuity. (See example 25 and 26) Example 25: Mvt.3, mm. 5-8. Section A Example 26: Mvt. 3, mm. 29-32. sostenutoj-jL r 3 The second A section starts at measure 99 accompanied with triplets of the left hand. The performer might play this section more freely to maintain a good balance and beautiful melody of the slow movement. (Example 27) Example 27: Mvt. 3, mm. 99-102. Second A section dolciss. i:* 100 Sui. # * 2 a. TABLE 3 Form of Third Movement Section Measures Kevs A 1-28 B major B 29-98 E major A 99-120 B major 58 The new Grove’s (Chopin) discusses some general nineteenth century trends which may be apply in this particular movement: Another innovation of great importance for the future was the ‘harmonic daydream’, as it might be called. The music seems to go into a daze, cut off from the world of reality in musical terms, from the business of continuing the harmonic, thematic and structural development of the piece. Usually the harmony is completely static in these passages, or it repeats, with hypnotic monotony, a series of two or three chords The Berceuse may be thought of as a continuous daydream. In terms of the Classical conceptions of form and development such passages could be regarded as flaws or weaknesses, but they exercised important influence on the impressionists, through such works as Faure’s nocturnes and Barcarolles. With them Chopin had shown a way to appeal directly to sensation, suspending for a while the stimulation of the listener’s intellect.22 In performance, this movement can be played by balancing the overall shape of small details, avoiding excessive ritards. Much careful use of rubato, voicing, and pedalling needs to be accomplished by the performer, in order to suggest a mood of improvisation. 59 Finale: Presto, non Tanto. The last movement is one of the most effective pieces of pure bravura Chopin ever composed. Many commentators rank it as one of the most important achievements in this genre to be considered anywhere in large-scale masterpieces. According to Weinstock: “In subject matter, in handling, in scope, and in sheer sonorous beauty, it is one of the major musical achievements after Beethoven. It entitles Chopin to a place with all masters of imagination and form.”23 Virtuosic notation exists in the background of every measure from the beginning to the end. It is in rondo form with the main theme appearing three times. As Walker states: “ the finale is one of the few sonata- rondos in musical history where the main theme returns out of the tonic key.”24 60 TABLE 4 Form of the Finale Section Temoo Kevs Measures Introduction Presto, non tanto 1-8 A Agitato B minor 9-27 A (8ve higher) B minor 28-51 Ba B major 52-75 Bb Leggiero F sharp major 76-95 T ran sitio n B minor 96-99 A E minor 100-118 A (8ve higher) E minor 119-142 Ba E flat major 143-166 Bb Leggiero E flat major 167-182 Longer transition 183-206 A B minor 207-225 A (8ve higher) B minor 226-253 Coda B major 254-286 61 The opening of an ascending melody in octaves (mm. 1-8) functions as a short introduction, (see example 28) The first theme begins in B minor, indicating “agitato” at m. 9, example 29. Example 28: Mvt.4, mm. 1-8. Introduction. Presto, non tanto cresc . Example 29: Mvt.4, mm. 9-13. 5 ^------^ r . 5 * Jf 3 4 5 affp1 ►-ba..- f r f ' f frfr'fTf>&r.. ^|* j. ... 0 ZL... } -1----rF-p ^ - P -- HH—1—1—hr-=r=i— r=?=?—^ ...r ^ h rrn.:-=r — —tr = ^"J J'bJ :=- * w w w The six versions of the theme are arranged in pairs. The first two are in the tonic Key of B minor (mm. 9 and 28). The second A enters an octave higher with the dynamic marking “forte.” The best best way to practice the part is to use more 62 motion, and follow the thumb. The treatment sometimes involves less legato, leaving a note before its full duration, or slight use of the damper pedal to sustain the tone, (example 30) Example 30: Mvt.4, mm. 28-35. ft . I f f it if-tC r f E-P-fe ! = l l £ p Ji i—*—1 E - r T - — r ------ 30 #- ■cy ,------T 0 . r F f t J j lU 1 1 ft- j •u. * ^ * # lu). * Iii>- simile This is followed by a fortissimo B section in B major (m. 52) (see example 31), and leggiero F sharp major at m. 76 ( example 32). Most of the B section is passage work, serving as the bridge between the section. The running passages of the B section combine the different figuration of descending 16th-notes and ascending eight-notes of the right hand while the left hand plays the chords written as dotted quarter notes. The suggestion in this particular section is that the performer should feel the beat of both hands, and also think of the long line. The melody of the uppermost part has to be precise, and the rest must be carefully observed (example 31): 63 Example 31: Mvt 4, mm. 52-58. i $ The “leggiero” second B section shows a similar idea mentioned earlier, except for the accompaniment of the left hand. The performer has to listen to the counter-melody of the long value notes appearing in the bass. The dynamic marking used by Chopin is almost always identical with the melodic shapes. When the melody ascends, Chopin uses crecendo, and when the melody descends, he uses decrescendo, (example 32) 64 Example 32: Mvt. 4, mm. 76-80. leggiero # The first transition is at measure 96 with dynamic marking of “forte”. The sixteenth note accompaniment of the right hand switches to the left hand two measures later, making a smooth connection of the theme, (see example 33) 65 Example 33: Mvt.4, mm. 96-99. f- The main theme returns in E minor in three against four (mm. 100, 119) (see example 34, 35), followed by the B section in E flat major (m.1 43)(example 36), and leggiero in E-flat (m.167) (see example 37) Example 34: Mvt. 4, mm.100-104. 101 .simile 66 Example 35: Mvt. 4, mm.l 19-122. r « tif ’"tf1 r —5«— t ty------1— * v # IK * J - T * II* d r - d s L ^ = ] I t f / " " ------*— L f f fi" ^fbbfj ..-.f i » i n n T r F r - d L L r 1 Example 36: Mvt. 4, mm. 143-146. 1 . t n l u ) . * to Example 37: Mvt. 4, mm. 167-170. leggiero 5 -n 67 An extended bridge (mm. 1 83-206) makes a dramatic transition into the main theme in B minor at m. 207. (see example 38) Example 38: Mvt. 4, mm. 183-191. i i SS SE 9 The last pair of the main theme presents a furthur agitated three over six in measures 207 and 226. (See example 39 and 40) Example 39: Mvt. 4, mm. 207-210. 207 V 68 Example 40: Mvt. 4, mm. 226-229. The coda begins at measure 254 with the dynamic marking of ff , (example 41). It is extremely virtuosic and in the tonic key of B major. The intensity of the coda creates a triumphal conclusion. (See example 42) Example 41: Mvt. 4, mm. 254-255. 253 69 Example 42: Mvt. 4, mm. 279-286. 279 cresc. i r o e- H i ip 281 s s I i la. w . The main theme of the finale movement has much in common with the opening theme of the first movement as discussed earlier. Both of these movements begin in B minor and end in B major. It hardly appears accidental, but it seems to demonstrate Chopin’s effort to unify the piece into an organic whole. 70 REFERENCES 1. Alan Walker, editor, F. Chopin: Profiles of the Man and the Musician (London: Barrie and Rockliff, 1966), p. 230. 2. Ibid., p. 256. 3. Ibid, p. 227. 4. Ibid., p. 250. 5. Edgar S. Kelley, Chopin the Composer: His Structural A rt and Its Influence on Contemporaneous (New Music York: Cooper Square Publishers, Inc., 1969), pp. 42-43. 6. Nicholas Temperley, “Scorography: The Music of Chopin,” Musical Newsletter, 4 (Winter, 1974), p. 13. 7. Walker, op. cit., p. 161. 8. G. C. Ashton Jonson, A Handbook to Chopin’s Works (London: William Reeves, 1908), p. 252. 9. Walker, op. c it, p. 254. 10. James Huneker, Chopin: The Man and His Music (New York: Charles Scribner’s Sons, 1901), p. 300. 11. Ibid. 12. Author’s notes during piano study with Professor Andre Laplante, The Ohio State University School of Music, Winter Quarter, 1 989. 13. Walker, op. cit., p. 255. 71 14. Murray Perahia, Program notes, “Chopin Sonatas,” Murray Perahia, Columbia 32780, 1974, U.S.A. 15. Huneker, op. cit., pp. 300-301. 16. Perahia, op. c it 17. Karl F. Reuling, Program notes, “Chopin Sonata No. 3,” Concerts of Great Music, Witold Mulcuzynski, Time Life Records, U.S.A. 18. Ibid. 19. Huneker, op. c it, p. 301. 20. Perahia, op. cit. 21. Walker, op. cit., p. 162. 22. Stanley Sadie, editor, The New Grove Dictionary of Music and Musicians, 6th Ed., “Fryderyk Chopin,” by Arthur Hedley, J. E. Brown, Nicholas Temperley, and Kornel Michalowski.(London: Macmillan Publishers Ltd., 1 980), p. 303. 23. Herbert Weinstock, Chopin: The Man and His Music (New York: Alfred A. Knopf, 1949), p. 276. 24. Walker, op. cit., p. 256. CHAPTER IV CONCLUSION This document provides a general study of Chopin’s Sonata no.3 in B minor, Op.58, including performance suggestions and a background of the piece and the composer, general literature, and a structural analysis of all four movements. According to Sand: Chopin’s creation was spontaneous, miraculous. He found it without seeking, without forethought. It came suddenly-complete and sublime, as it sang itself in his head during a walk, and he hurried to hear it himself by giving it to the piano...1 George Sand’s description of what Chopin went through in his compositions provides valuable insights for performers in playing Chopin’s music. In performance, the pianist should follow an instinctive excitement of the movement, while trying to achieve the composer’s intentions. In order to perform such a work with numerous themes and keys convincingly, the performer needs more time to prepare the piece. In Chopin’s music, there is a delicate balance, a sensitivity, and even a freedom that cannot easily be taught, but must be felt with intuition.2 72 73 For instance, the rubato style in Chopin’s music cannot be forced. It must come naturally, as a matter of feeling rather than thought. With this large work, it is impossible to perform it well without having a basic knowledge of the formal structure. It is an extremely helpful tool in understanding more of the piece. REFERENCES Edgar S. Kelley, Chopin The Composer: His Structural A rt and Its Influence on Contemporaneous (New York: Cooper Square Publishers, Inc., 1969), p. 118. Ernest Lubin, Chopin and His Circle: An Anthology of Music by Chopin and His Contemporaries (New York: Amsco Music Publishing Company, 1975), p. 13. BIBLIOGRAPHY BOOKS Abraham, Gerald. Chopin’s Musical Style. London: Oxford University Press, 1941. Bidou, Henri. Chopin. Translated by Catherine Alison Phillips. New York: Alfred A. Knopf, 1927. Brown, Maurice J.E. Chopin: An Index of His Works. London: Macmillan Press, 1972. Cortot, Alfred. In Search of Chopin. New York: Abelard Press, 1952. Dunn, John Petrie. Ornamentation in the Works of Frederick Chopin. London: Novello and Company, Ltd., 1921. Eigeldinger, Jean-Jacques. Chopin: Pianist and Teacher. Edited by Roy Howat. London: Cambridge University Press, 1986. Finck, Henry. Chopin and Other Musical Essays. New York: Books for Libraries Press, 1972. Gavoty, Bernard. Frederic Chopin. Translated from the French by Martin Sokolinsky. New York: Charles Scribner’s Sons, 1977. Gide, Andre. Notes on Chopin. Translated from the French by Bernard Frechtman. New York: Philosophical Library, 1949. 76 Gillespie, John. Five Centuries of Keyboard Music. New York: Dover Publication, Inc., 1965. Hadden James C. Chopin. London: J.M. Dent & Sons Ltd., 1921. Harasowski, Adam. The Skein of Legends Around Chopin. Glasgow: William Maclellan, 1967. Hedley, Arthur. Chopin. London: J. M. Dent & Sons Ltd., 1974. Hipkins, Edith J. How Chopin Played. London: J.M. Dent & Sons Ltd., 1937. Holcman, Jan. The Legacy of Chopin. New York: Philosophical Library, 1954. Huneker, James. Chopin: The Man and His Music. New York: Charles Scribner’s Sons, 1901. Jonson, G. C. Ashton. A Handbook to Chopin's Works. London: William Beeves, 1908. Kelley, Edgar Stillman. Chopin the Composer: His Structural Art and Its Influence on Contemporaneous NewMusic. York: Cooper Square Publishers, Inc., 1969. Liszt, Franz. Frederic Chopin. Translated by Edward N. Waters. New York: Vienna House, 1963. Lubin, Ernest. Chopin and His Circle: An Anthology of Music by Chopin and His Contemporaries. New York: Amsco Music Publishing Company, 1975. Melville, Derek. Chopin: A Biography, with a Survey of Books, editions, and Recording. London: Clive Bingley Ltd., 1977. Methuen- Campbell, James. Chopin Playing: From the Composer to the Present Day. London: Victor Gollancz Ltd., 1981. 77 Murdoch, William. Chopin: His Life. New York: The Macmillan Company, 1935. Sadie, Stanley, editor. The New Grove Dictionary of Music and Musicians, 6th ed., “Fryderyk Chopin,” by Arthur Hedley, J. E. Brown, Nicholas Temperley, and Kornel Michalowski. London: Macmillan Publishers Ltd., 1 980. Samson, Jim, editor. Chopin Studies. Cambridge: Cambridge University Press, 1988. Samson, Jim. The Music of Chopin. London: Routledge & Kegan Paul, 1985. Schonberg, Harold C. The Great Pianist. New York: Simon and Schuster, 1963. Thompson, Oscar, editor. The International Cyclopedia of Music and Musicians, 11th ed., “Frederic Francois Chopin,” by William Murdoch. New York: Dodd, Mead & Company, 1985. Walker, Alan. Chopin and Musical Structure: An Analytical Approach. Edited by Alan Walker. Frederic Chopin. London: Barrie and Rockliff, 1966. Walker, Alan, editor. Frederic Chopin: Profiles of the Man and the Musician. London: Barrie and Rockliff, 1966. Weinstock, Herbert. Chopin: The Man and His Music. New York: Alfred A. Knopf, 1949. Wolff, Konrad. Masters of the Keyboard. Indiana: Indiana Uni versity Press, 1 990. Zamoyski, Adam. Chopin: A New Biography. New York: Doubleday & Company, Inc., 1980. 78 PERIODICAL AND JOURNALS Harasowski, Adam. “An Overview of Chopin’s Piano Music.” Piano Quarterly 113 (Spring 1981): pp. 18-32. Higgins, Thomas. “Chopin’s Practices.” Piano Quarterly 11 3 (Spring 1981): pp.38-41. Higgins, Thomas. “Tempo and Character in Chopin.” Musical Q u a rte rly 59 (January 1973): pp.106-120. Jonas, Oswald. “On the Study of Chopin’s Manuscripts.” Jahrbuch Chopin, 1956, pp.142-155. Robert, Walter. “Chopin’s Tempo Rubato in Theory and Prac tice.” Piano Quarterly 113 (Spring 1981): pp.42-44. Temperly, Nicholas. “Scorography: the Music of Chopin.” Musical Newsletter 4 (Winter, 1974): pp. 11-14. 79 UNPUBLISHED WORKS Higgins, Thomas. “Chopin Interpretation: A Study of Perform ance Directions in Selected Autographs and Other Sources.”Ph.D. Dissertation, The University of Iowa, 1966. Kiorpes, George A. “The Performance of Ornaments in the Works of Chopin.” D.M.A. Dissertation, Boston University, 1975. Mcginnis, Francis Frederick. “Chopin: Aspects of Melodic- Style.” Ph.D. Dissertation, Indiana University, 1968. MUSIC SCORES Chopin, Frederic. Sonata Op. 58. Edited by Alfred Cortot. Paris: Edition Nationale, 1930. Chopin, Fryderyk.Sonatas. Edited by I. J. Paderewski. Warsaw: Polish Music Publications, 1961. 80 DISCOGRAPHY Perahia, Murray. Program Notes. Chopin Sonatas. Murray Perahia Columbia 32780, 1974, U.S.A. Petazzi Paolo, translated by Martin Cooper. Program Notes. Chopin Sonatas. Maurizio Pollini, Deutsche Grammophon 415346-2, 1985, Germany. Reuling F. Karl. Program Notes. “Chopin Sonata No. 3,” C oncerts o f Great Music: The Romantic Era. Witold Malcuzynski, Time-Life Records, 1968, U.S.A. Robison, J. Program Notes. Chopin Sonatas. Wladyslaw Kedra, Westminster 1 8882, U.S.A. Stanley Charles and Werner Ernest. Program Notes.Chopin Sonatas. Guiomar Novaes, Vox 7360, 1952, U.S.A. Wright A. Elizabeth. Program Notes. Chopin: The Sonatas and Mazurkas. William Kapell, RCA 5998, 1987, U.S.A.