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Updated: May 5, 2025
Notwithstanding the grandeur and beauty of the grave, the power and passion of the scherzo, this Sonata in B flat minor is not more a sonata than it is a sequence of ballades and scherzi. And again we are at the de Maupassant crux. The work never could be spared; it is Chopin mounted for action and in the thick of the fight.
cooing of voices in mournful bits of the motto, with a timid upper phrase in the descending tone. On we go in the piling of Ossa on Pelion, where the motto and even the Scherzo dance lend their text. Yet all is fraught with sentient beauty as, rising in Titanic climb, it plunges into an overwhelming cry in the Adagio melody.
A closing, jagged phrase reappears as the first theme of the Finale. The Adagio and Scherzo are built upon the same figure of bass. The theme of the Trio is acclaimed by a German annotator as the reverse of the first motive of the symphony. In the prelude of the Finale, much as in the Ninth of Beethoven, are passed in review the main themes of the earlier movements.
The Scherzi of Chopin are of his own creation; the type as illustrated by Beethoven and Mendelssohn had no meaning for him. Whether in earnest or serious jest, Chopin pitched on a title that is widely misleading when the content is considered. The Beethoven Scherzo is full of a robust sort of humor.
After a funeral march of commonplace character and boisterous movement, where Beethoven seems to be taking lessons from Mendelssohn, there comes a scherzo, or rather a Viennese waltz, where Chabrier gives old Bach a helping hand. The adagietto has a rather sweet sentimentality.
The satirical, sarcastic humor which escaped him in social intercourse at times, is vented on a colossal scale in the Scherzo, in which he often makes sport of humanity itself, making it the subject of his jest, his ridicule its foibles being shown up, its follies exposed. When projected in this mood, the movement calls for intellectual co-operation, and is of equal importance with the others.
A Trio, a dulcet, tender song of the wood, precedes the return of the Scherzo that ends with the speaking cadence from the first Allegro. A Serenata must be regarded as a kind of Intermezzo, in the Cantilena manner, with an accompanying rhythm suggesting an ancient Spanish dance. It stands as a foil between the gaiety of the Scherzo and the jubilation of the Finale.
He originated, invented the Scherzo, developing it from the simple minuet of the earlier composers. The primary object of the Scherzo was recreation pure and simple. It was introduced with the object of resting the mind. The evolution of humor in music is an interesting subject of study.
Exclusive of the theme of the scherzo, which recalls a little overmuch the Teutonic banalities of Mahler's symphonies, the quality of the music is, on the whole, grave and poignant and uplifted. It has a scholarly dignity, a magistral richness, a chiaroscuro that at moments recalls Brahms, though Schoenberg has a sensuous melancholy, a delicacy and an Hebraic bitterness that the other has not.
The bells of the Funeral March, the will o' wisp character of the last movement of the B flat minor Sonata, the dainty Butterfly Study in G flat, opus 25, the aeolian murmurs of the E flat Study, in opus 10, the tiny prancing silvery hoofs in the F major Study, opus 25, the flickering flame-like C major Study No. 7, opus 10, the spinning in the D flat Valse and the cyclonic rush of chromatic double notes in the E flat minor Scherzo these are not studied imitations but spontaneous transpositions to the ideal plane of primary, natural phenomena.
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