A Study of Chopin's Third Sonata (Dhuvabhark Janida)

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:

Rosemary Platt, D.M.A., Adviser

Jerry Lowder, D.M.E., Co-Adviser

Donald Gren, D.M.A.

Approved by

Adviser

n[-~ 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.

I I I

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

IV

FIELDS OF STUDY

Major Field: Music

Studies in Piano Performance

Studies in Piano Literature

Studies in Piano Pedagogy

Studies in Music Theory

v

Dr. Rosemary Platt, Prof. Andre Laplante, Dr. Donald Gren

Dr. Donald Gren

Dr. Jerry Lowder

Dr. Lora Gingerich

T H E

OHIO 5IATE

College of the Arts School of Music GRADUATE STUDENT RECITAL SERIES

UNIVERSITY

SUNDAY, FEBRUARY 26, 1989 8100 P.H.

WElGEL HALL AUDlIORlUM

J A N I D A D H U V A B H A R K, P I A N 0

This re.citat is pre.se1ted i1 part iai fulfillment fo1 the de.gree Doctor of Mus ica i Arts for Ms. Dliuvab11ark.

PROGRAM

Sonata ln B-flat, Longo 99 Sonata ln D, Longo 463 Sonata ln G, Longo 103 Sonata ln D, Longo l4

Sonata ln F, Opus 10, No. 2 Ai iegro AHegretto Presto

"t\begg" Varlatlon, Opus l

I N T E R H I S S l 0 N

Fantasle-lmpromptu ln C-sharp mlnor, Opus 66

Three Preludes La Cathedrale engloutie, Book I La fiHe au:c c11eveux de tin, Book I Feux d'artifice, Book II

VI

D. Scarlatt l

L. V. Beethoven .

R. Schumann

F. Chopln

c. Debussy

~ College of llie Arts School of Music UNIVERSITY GRADUATE STUDENT RECITAL SERIES

Thursday, March 8, 1990 4:00P.M.

Weigel Hall Auditorium

JANIDA DHUVABHARK, Piano MING SHAN KONG, Piauo

This recital is presented ill partial fulfillment fur Ille degree Doctor of Musical Aris for Ms. Dl1uvabhark.

Concerto In A major, K. 488 Allegro A11da11le Presto

Sonata No. 3 In B minor, Op. 58

Allegro maesloso Sc11erzo: Mollo vivace Largo Finale: Presto, t1011 lanlo; Agilato

PROGRAM

INTERMISSION

VII

W.A. Mozart

F.Chopin

College of the Arts School of Music GRADUATE STUDENT RECITAL SERIES

Thursday, May 23, 199 l 4:00 p.m.


JANIDA DHUV ADHARK,piano

Guest Artists Wei-Ming Hwang, violin

John Eitzen, cello

This recital is i11 partial fuljillmem for the degree Doctor of Musical Arts/or Ms. Dhuvabhark

PROGRAM

Sonata No.5 in F, Op.24 ("Spring") .......................... Ludwig van Beethoven Allegro (1770-1827) Adagio molto espressivo Scherzo-Allegro molto Ro11do-Allegro ma 11011 iroppo

Sonata in D, Op.94 .......................................... Serge Prokofieff Moderato (1891-1953) Presto A11da11te Allegro co11 brio

Dorimme ra...senger,jlute

lnten11lssiu11

Trio No. l in Eb, Op. l, No. l ............................... Ludwig van Beethoven Allegro (I 770-1827) Adagio Scherzo-Allegro assai Fillllle-Presto

viii

College of the Arts School of Music ~ GRADUATE STUDENT RECITAL SERIES UNIVERSITY

Wednesday, May 20, 1992 3:00p.m.


Janida Dltuvabltark, piano This recital is in partial fufji/lment of tire degree

Doctor of Musical Arts for Ms. D huvabliark

Program

Sonata No.59 in Eb, Hob.XVJ/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 Me11uetto. Allegretto Prestissimo

bttermission

Nocturne No.l in Bb minor, op.9, no.I ............................ Frederic Chopin (1810-1849)

Etude, op.2, no. I ......................................... Alexander Scriabin Preludes, op.11, No.5, 12, 2, 9, 6 (1872-1915)

Suite, op.14 .................................................... Bela Bart6k Allegretto (1881-1945) Scl1erzo Allegro mo/to Soste1mto

ix

TABLE OF CONTENTS

Page

ACKNOWLEDGEMENTS .......................................................... i i i

\llTA................................................................................. I \I

FIELDS OF STUDY............................................................ \I

RECITAL PROGRAMS......................................................... "'

LIST OF TABLES .................................................................. xii

LIST OF EXAMPLES ............................................................... xiii

CHAPTER

I . INTRODUCTION......................................................... 1

PURPOSE.................................................................................. 3

BACKGROUND.......................................................................... 3

THE COMPC>SER .......................................................................... 9

CHOPIN'S COMPOSITIONAL STYLES ................................. 1 3

11 RELATED LITERATURE................................................ 2 0

111. ANALYSIS ..................................................................... 30

First Movement: Allegro ma estoso ................................. 3 5

Second Movement Scherzo and Trio .............................. 49

Third Movement Largo........................................................ 5 4

x

Finale: Presto, non T anto... .... .... ... ........ .. . .... .... ... .... .... .. .. ... . 5 9

IV. CONCLUSION.................................................................. 7 2

BIBLIOGRAPHY....................................................................... 7 5

BOOKS....................................................................................................... 7 5

PERIODICALS AND JOURNALS ............................................................. 78

UNPUBLISHED WORKS ............................................................................. 79

MUSIC sc;QRES ........................................................................................... 7 9

DISCcx:iRAPl--IY ............................................................................................ 8 0

XI

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

X 11

LIST OF EXAMPLES

EXAMPLE PAGE

1. Mvt. 1, mm. 1-4.............................................................................. 31

2. Mvt 4, mm. 9-1 2... ... .......... ......... .. .......... ............. ......... .... . ........ ... 31

3. Mvt. 1 , mm.4 1-4 6, 2nd theme, Motive A, B .. . .. .. .. . .. . . .. ... .. .. 3 2

4. Mvt.1, mm. 41-44, 2nd theme, Motive(............................. 33

5. Mvt 4, mm. 9-12........................................................................... 33

6. Mvt. 1, m. 29.................................................................................... 38

7. Mvt 1, mm. 23-24......................................................................... 39

8. Mvt 1 , mm. 43-44......................................................................... 4 1

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, rnm. 76-84......................................................................... 45

14. Mvt 1, mm. 84-89......................................................................... 45

15. Mvt 1, mm. 35-37.......................................................................... 46

16. Mvt.1,mm.146-147 ................................................................... 47

x 111

1 7. Mvt. 1 , mrn. 1 5 1 -1 5 4.. ... . .... .. ..... .. . ... . . . ... . ... .... .. ... . . .. .. . ... ..... ... . ... ... 4 7

18. Mvt. 1 , mm. 1 31 .............................................................................. 48

19. Mvt. 2, mm. 1-5. Scherzo section.......................................... 50

20. Mvt. 2, mm. 61 -70. Trio section............................................ 51

21. Mvt 2, mm. 48- 60...................................................................... 51

22. Mvt 2, mm. 61-80. ..................................................................... 52

23. Mvt. 3, mm. 15-16 ............................................................................. 55

24. Mvt. 3, mm. 1-4. Introduction ............................................ :.... 56

25. Mvt. 3, mm. 5-8. Section A...................................................... 56

26. Mvt. 3, mm. 29-32. Section B.................................................. 56

27. Mvt..3,mm.99-102 ...................................................................... 57

28. Mvt. 4, mm. 1-8. Introduction ...................................................... 61

29. Mvt. 4, mm. 9-1 3. First theme................................................. 61

30. Mvt. 4, mm. 28-35......................................................................... 62

31. Mvt 4, mm. 52-58......................................................................... 63

32. Mvt. 4, mm. 76-80.................................................................. 64

33. Mvt. 4, mm. 96-99, Transition.......................................... 65

34. Mvt. 4, rnm. 100-104................................................................ 6 5

35. Mvt. 4, mm. 119-122................................................................... 66

36. Mvt. 4, mm. 143-146.................................................................. 66

XIV

3 7. Mvt. 4, mm. 1 67 -1 7 0.. .... ... ... .. . . .. ... .... ...... .. . . .. . . .. .. ................. .. . . . . 6 6

38. Mvt. 4, mm. 183-191................................................................... 67

39. Mvt. 4, mm. 207 -21 0....................................................... 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

Hadow criticizes Chopin's abilities to write m 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-

2

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 and difficult. It

takes a tremendous degree of hard work in order to perform not only

3

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.

Background

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 1n 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 Elsner.

It is dedicated to Elsner 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).s 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

5

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 ( 183 7) 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

6

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." 1 3

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 his Cours de Composition

Musicale " ... 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

8

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. " 1 9

The Composer

According to Heine, "Chopin is the great inspired tone-poet

who properly should be named only with Mozart, Beethoven and

Rossini." 2 0

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

9

Fryderyk Franciszek Chopin (Frederic Francois) was born m Zelazowa Wola, Poland, on March 1, 1810, and died in Paris on

10

October 17, 1849.23 He was the son of a French father, Nicolas Chopin

(1771-1844) and a Polish mother, Teklajustyna Krzyzanowska (b.1 782). 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 Elsner (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.

1 1

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 ... ln 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 ( 1 844 ). 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

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 Hummel. 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

14

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 1828 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,

15

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. 3 5. 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 ... 2 9

16

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 of Chopin, Jan Holeman, (New York: Philosophical Library, 19 54), 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, 1 966), 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. 27 4.

10. Maurice J. E. Brown, Chopin: An Index of His Works, (London: Macmillan Press, 19 72), 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. 2 52.

14. Walker, op. cit., p. 250.

15. Charles Stanley and Ernest Werner, Program notes, Chopin Sonatas, Guiomar Novaes, Vox 7360, 1952, U.S.A.

16. James Huneker, 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

21. Ibid

Art and its Influence on Contemporaneous Music, (New York: Cooper Square Publishers, Inc., 1969), p. 5.

22. Jonson, op. cit., p. 1 7.

23. Stanley Sadie, editor, The New 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.

24. Ibid., p. 296.

25. Ibid.

26. John Gillespie, Five Centuries of Keyboard Music, (New York: Dover Publications, Inc., 1965), p. 220.

19

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

Abstracts. 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

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.

21

A 1905 book by Jonson, A Handbook to Chopin's Works, for the

Use of Concert Goers, Pianists, and Piano/a-Players, is a

collection of remarks selected from the writings of various

pianists, critics, and authors such as Frederick Niecks, Franz

Liszt, James Huneker, 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 A.J.Hipkins in 193 7. 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. s

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 194 7 book is one of the most important

contributions to understanding Chopin literature. Hedley also

includes chapters on Chopin as a pianist, teacher, and composer,

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

23

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

Order, 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 'jChopin'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. 1 2

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. 4 7, and Scherzi, Op. 31 and Op. 54. 13

The recent 1980 edition of Grove's Dictionary 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

26

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. l 6

A special Chopin Edition in the Spring, 1 981 issue of The

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-Interpreting 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

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. 1 8

27

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

1. G. C. Ashton Jonson, A Handbook to Chopin's Works, (London: William Reeves, 1908), 287 pp.

2. John P. Dunn, Ornamentation in the Works of Frederick Chopin, (London: Novello and Company, Ltd., 1921), 75 pp.

3. Henri Bidou, Chopin, translated from the French by Catherine Alison Phillips, (New York: Alfred A. Knopf, 19 27), pp. 208-209.

4. Edith J. Hipkins, How Chopin Played, (London: J. M. Dent & Sons Ltd., 1937), p. 7.

5. Gerald Abraham, Chopin's Musical Style, (London: Oxford University Press, 1941 ), pp. 44-45.

6. Arthur Hedley, Chopin, (London: J. M. Dent & Sons Ltd., 1947), p. 120.

7. Andre Gide, Notes on Chopin, translated from the French by Bernard Frechtman, (New York: Philosophical Library, 1949), pp. 36-37.

8. Herbert Weinstock, Chopin: The Man and His Music, (New York Al'fred A. Knopf, 1949), p. 27.

9. Alfred Cortot, In Search of Chopin, (New York: Abelard Press 1952), p. 29.

28

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, 1 967), 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. 1 29

17. Robert J. Silverman, editor, The Piano Quarterly, 11 3 Spring 1981.

18. Jim Samson, The Music of Chopin, (London: Routledge & Kegan Paul, 1985), 243 pp.

19. Jim Samson, editor, Chopin Studies, (Cambridge: Cambridge University Press, 1988), 258 pp.

CHAPTER Ill

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

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

31

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.

32

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 earlier, 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

* T..&i.

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. l, mm. 41-44. Second Theme, Motive C

!.;). * !.;). * *

f,;-.. *

a strong link is created to the last movement (see example 5):


---

T-:jj:

*

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

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

36

37

TABLE 1

Form of the First Movement

Section Tempo 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 72-7 5 -Closing theme 76-93 D major

Development 94-1 50 -summary of

exposition's long transition

Re ca pi tu la ti on 1 51-204 -Second theme sostenuto 151-185 B major -Closing theme 186-197 B major -Codetta 1 98-204 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

(rnm.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 1s

for the left hand in measure 29 (see example 6) Example 6: Mvt. 1, m. 29.

The long and agitated transition follows a stormy opening

which prepares a beautiful melody in a new key, often m the

intervallic relationship of the third rather than the fifth m 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):


~ r= ~ 3 ~~ J "' .-:

{ ~ -_ 'I ,, 2~ 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:


sostenu-_:l:..o -----3

* '.fbi. * '.fbi.

5

5 t 3 fl.

* '.fbi.

The Paderewski Edition has the double-stems, unlike the

41

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. 4 7-50). 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. 1 2

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 1 O) Example 9: Mvt. 1, mm. 52-56.


:;+:"; ~~~ -:t -:t / . !~ (legato)

Tail. *

43

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. 72-7 5) 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. 72-7 5 bridge passage.

The closing theme begins at measure 7 6 (example 13), creating another point of mood relaxation in the movement. The

theme is supported by 16th-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 1 3: Mvt. 1 , mm. 7 6-84.


The development section begins at measure 94. Many

versions of the first theme are heard. A big climax "forte"

46

(m.11 7), 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. 117. 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. 146-14 7, 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)


Expositio~n_,__. -----~-------------

I 2

Example 1 6: Mvt. 1, mm. 146-14 7.

Development

I '.l':ul.

*

47

As in the 8-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.

sostenufo 3

*

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 1 8: Mvt. 1, mm. 1 31.

~- *

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-sha rp

to

Trio B major 61-156

Scherzo E-flat major 157-216

There is a close structural link between the scherzo and

trio section found in example 19, and 20.

Example1 9: Mvt. 2, mm. 1 -5. Scherzo section.

f l

SCHERZO Mollo vi~ ~ 12 1:JtiiS4 3 1 2 ,~ -

' t-1 ~) ~-1 .. --.,,-. - .,, leggier~ L 1 /"""" ~ ~

. '

:-'

-' ..

'3 I '.til.

~ . 1 ... c.j!: += t:.:::

-

-

-

,....--. .

,_ - '

-'

.., t7 -

~ .,, ' Tm. 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 senes 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.

1 315315 :>5

>

52

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, mrn. 71-80.

- - - -

r~r-~r~r

53

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." 1 7

54

Third Movement: Largo

Liszt describes this slow movement as "accentuated,

measured swaying and balancing." 18 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

m 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. 1 5-1 6. The following example is

representative of the type of note distribution solution useful m

these measures.

Example 23: Mvt.3, mm. 15-16 .

..--. ts 1 :I

~ .. -~. . PWM

HI

The tonic key of the second movement enharrnonically 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


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 2 5: Mvt.3, mm. 5-8. Section A {1, cantabile

~:1~ ~~~~i5~3~~~~~~~ fr ~

---2 4 2 1 2

* T.i). *


\..: . '.&.;).

~-

5S * -

,.,..-...._

....... += '-~ ,__+ T.;)

* 'f.;i.

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

Tr;). * Tr;). *

TABLE 3

Form of Third Movement

Section

A

B

A

Measures

1-28

29-98

99-120

Keys

B major E major B major

*

57

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. 2 2

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."2 4

60

TABLE 4

Form of the Finale

Section Tempo Keys Measures

Introduction Presto, non tanto 1-8

A Agitato B minor 9-27

A (Bve higher) B mm or 28-51 Ba B major 52-7 5 Bb Leggiero F sharp major 76-95 Transition B mm or 96-99

A E minor 1 00-1 1 8

A (8ve higher) E minor 119-142 Ba E flat major 143-1 66 Bb Leggiero E flat major 167-182 Longer transition 1 83-206

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

Example 29: Mvt.4, mm. 9-13.

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.

Tai).

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 ):

Example 31: Mvt 4, mm. 52-58.

'.r.c;i.

~2

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)

63

64


/egg~ 2,,,- . "-- .. ~ ~

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.

--~--~--~--~~----

The main theme returns in E minor in three agJ1:1::.;t lvur (mm.100, 119) (see example 34, 35), followed by the B section in E flat major (m.143)(example 36), and leggiero in E-flat (m.167) (see example 37)

Example 34: Mvt. 4, mm.100-104.

*

66

Example 35: Mvt. 4, mm.119-122.

Example 36: Mvt. 4, mm. 143-146.

Example 37: Mvt. 4, mm. 167-170.

*

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.

::::f ..... ..

I lf

'.f.i).

67

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.

68 Example 40: Mvt. 4, mm. 226-229.

The coda begins at measure 2 54 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.

T I =="" !

i ~ .I

69 Example 42: Mvt. 4, mm. 279-286.

3 5 2

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.

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. 2 50.

70

5. Edgar S. Kelley, Chopin the Composer: His Structural Art and Its Influence on Contemporaneous Music (New 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. 1 61.

8. G. C. Ashton Jonson, A Handbook to Chopin's Works (London: William Reeves, 1908), p. 2 52.


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, 1989.


14. Murray Perahia, Program notes, "Chopin Sonatas," Murray Perahia, Columbia 327 80, 19 7 4, U.S.A.

15. Huneker, op. cit., pp. 300-301.

16. Perahia, op. cit.

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. cit., p. 301 .

20. Perahia, op. cit.


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 Michalowskl.(London: Macmillan Publishers Ltd., 1980), p. 303.

71

23. Herbert Weinstock, Chopin: The Man and His Music (New York: A11=red A. Knopf, 1949), p. 276.


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 1n 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

1. Edgar S. Kelley, Chopin The Composer: His Structural Art and Its Influence on Contemporaneous (New York: Cooper Square Publishers, Inc., 1969), p. 118.

2. Ernest Lubin, Chopin and His Circle: An Anthology of Music by Chopin and His Contemporaries (New York: Amsco Music Publishing Company, 1975), p. 13.

74

BIBLIOGRAPHY

BOOKS

Abraham, Gerald. Chopin's Musical Style. London: Oxford University Press, 1 9 41 .

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, 1 9 7 2.

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.

75

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., 19 7 4.

Hipkins, Edith J. How Chopin Played. London: J.M. Dent & Sons Ltd., 1937.

Holeman, 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 Reeves, 1908.

Kelley, Edgar Stillman. Chopin the Composer: His Structural Art and Its Influence on Contemporaneous Music. New York: Cooper Square Publishers, Inc., 1969.

76

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, 197 5.

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.

Murdoch, William. Chopin: His Ute. New York: The Macmillan Company, 1935.

77

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., 1980.

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, 1 963.

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, 19 66.

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.

PERIODICAL AND JOURNALS

Harasowski, Adam. "An Overview of Chopin's Piano Music." Piano Quarterly 11 3 (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 Quarterly 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 11 3 (Spring 1981 ): pp.42-44.

Temperly, Nicholas. "Scorography: the Music of Chopin." Musical Newsletter4 (Winter, 1974): pp.11-14.

78

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, 19 30.

Chopin, Fryderyk. Sonatas. Edited by I. J. Paderewski. Warsaw: Polish Music Publications, 1961.

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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 41 5346-2, 1985, Germany.

Reuling F. Karl. Program Notes. "Chopin Sonata No.3," Concerts of Great Music: The Romantic Era. Witold Malcuzynski, Time-Life Records, 1968, U.S.A.

Robison, J. Program Notes. Chopin Sonatas. Wladyslaw Kedra, Westminster 18882, 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.

A Study of Chopin's Third Sonata (Dhuvabhark Janida)

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Transcript of A Study of Chopin's Third Sonata (Dhuvabhark Janida)