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Updated: May 5, 2025
A final conclusive line is given by the solo flute. Besides the constant course of varying tune, there is a power of ever changing harmony that seems to lie in some themes. One can hardly call it all a Scherzo. It is rather an idyll after the pathos of the Andante.
Nor is there a return to the original form, without the Scherzo. To judge from the headings, the "slow" movement is absent. In truth, by way of cursory preamble, the chronic vein of César Franck is so ingrainedly reflective that there never can be with him an absence of the meditative phrase. The first movement alone is in the nominal key.
For all your mariolatry, you were full of "der Geist der stets verneint." And so you were able to create a musical Mephisto that will outlive your other work, sonata and all, and express you to other times. For here, all that one senses dimly behind your sugared and pretentious compositions speaks out frankly. Listening to this mighty scherzo, we know the cynicism that corroded your spirit.
This letter was sent to Johannes and the result was the offering of some of his compositions to Breitkopf and Härtel for publication. He had already written two Sonatas, a Scherzo, and a Sonata for piano and violin. The Sonata in C, now known as Op. I, although not his first work, was the one in which he introduced himself to the public.
I must admit that if my aunt played the minuet rather quickly, she executed the andante in a very delicate style, and the scherzo and the finale were both dashed off in a spirited way. At the last chord, I applauded with sincere enthusiasm. "She plays very well, doesn't she?" my uncle quietly asked me, in a modest tone. "You, who are a connoisseur "
The F minor Ballade overflows with it, and so does the F sharp minor Polonaise, but not the first Impromptu. Its dark introspection colors many of the preludes and mazurkas, and in the C sharp minor Scherzo it is in acrid flowering truly fleurs du mal. Heine and Baudelaire, two poets far removed from the Slavic, show traces of the terrible drowsy Zal in their poetry.
Still, thus much at least we may assume to be certain: Gutmann played the Scherzo, Op. 39, on this occasion, and his rendering of it was such as to induce his master to dedicate it to him.
The Finale is conceived in mystical retrospect, beginning in vein of prologue: over mysterious murmuring strings, long sustained notes of the reed and horn in octave descent are mingled with a soft carillon of horns and trumpets in the call of the Scherzo. In slower pace and hush of sound sings a madrigal of tender phrases. A pair of melodies recall like figures of the first Allegro.
The first day's program contained chiefly works by the Hungarian master; among them Au bord d'une Source, Scherzo and March, and the Ballades.
It is simply unapproachable, and has no equal for lucidity, brevity and polish among the works of Chopin, except the Scherzo in C sharp minor; but there is less irony, more muscularity, and more native sweetness in this E flat minor Scherzo. I like the way Kullak marks the first B flat octave. It is a pregnant beginning.
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