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Updated: May 25, 2025
It was published in 1834, four years before Chopin's visit to Spain. Niecks thinks it an early work. That it can be made effective was proven by Emil Sauer. It is for fleet-fingered pianists, and the principal theme has the rhythmical ring of the Polonaise, although the most Iberian in character. It is dedicated to Comtesse E. de Flahault. In the key of A minor, its coda ends in A major.
"I must try not to get so excited. But, Paul I can't tell you about about that letter and later, when I saw Ellen, it was as though we fought hand to hand for Patsy, though she never " "There, there, dearest! Don't talk about it just rest. You've worked yourself into a perfect fever." If there was latent in the indulgent accent of this speech the coda, "All about nothing," it escaped Lydia's ear.
Gradually the second subject differentiates itself from the first while maintaining the flow of the tide of music; and gradually we get the "working-out" section, in which the unbroken flow is kept up by fragments of the two subjects being woven into perpetually new melodic outlines, leading up to the return of the first theme; and the second theme is repeated in the key of the first, with a few bars of coda to make a wind-up satisfactory to the ear.
In the reprise the folk-song appears in the tonic minor, taken most unconventionally in the bass under elaborate arpeggiations in the right hand. The coda, as in the other sonata, is simply a strong passage of climax. Arthur's supernatural nature doubtless suggested the second movement, with its elfin airs, its flibbertigibbet virtuosity, and its magic of color.
Its assertiveness soon melts into tenderer hues, and in an episode in A we find much to ponder. No. 5, in C, consists of three lines. It is a sort of coda to the opus and full of the echoes of lusty happiness. A silhouette with a marked profile. Opus 17, No. 1, in B flat, is bold, chivalric, and I fancy I hear the swish of the warrior's sabre.
Its ecstasy droops, and after a little flutter as of little wings, the elaboration opens with the Spring motive in the minor. Then the conclusion rushes in; this I consider one of the most joyous themes ever inspired. There is a coda of vanishing bird-wings and throats, a pizzicato chord on the strings and Spring has had her coronation.
This valse may be danced as far as its dithyrhambic coda. Notice in this coda as in many other places the debt Schumann owes Chopin for a certain passage in the Preambule of his "Carneval." The next Valse in A minor has a tinge of Sarmatian melancholy, indeed, it is one of Chopin's most desponding moods.
The contrasts here are most artistic sonorous harmonies set off by broken chords that deliciously tinkle. There is a coda of frenetic movement and the end is in major, a surprising conclusion when considering all that has gone before. Never to become the property of the profane, the C sharp minor Scherzo, notwithstanding its marked asperities and agitated moments, is a great work of art.
On the morning of the day when the contract was to be signed and the fete given, one of these flashes of the soul illuminated the mind of Madame Evangelista during the semi-somnolence of her waking hour. The words that she herself had uttered at the moment when Mathias acceded to Solonet's conditions, "Questa coda non e di questo gatto," were cried aloud in her mind by that voice of memory.
There is moonlight in this music, and some sunlight, too. The prevailing moods are coquetry and sweet contentment. Contrapuntal skill is shown in the working out section. Chopin always wears his learning lightly; it does not oppress us. The inverted dominant pedal in the C sharp minor episode reveals, with the massive coda, a great master. Kullak suggests some variants.
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