Chopin's Piano Sonata in B Flat Minor Opus 35 - Further analyses - Walker and others



Example 26: Derivation of bar 99 from the first subject[163]


Derivation of bar 99 from first subject


Walker also emphasises the importance of the tempo relationship between the Grave (bars 1-4) and Doppio Movimento (beginning bar 5) in the first movement, i.e., that bar 5 onwards is exactly double the speed of the first four. By doing so, he gives credence to his opinion that the Grave is not something merely "tacked on" at the beginning, and that it should not be played in a slow, improvisatory manner.


Walker is of the opinion that the closely-knit argument of the development section of the first movement, which is based almost exclusively on the first subject, disproves the notion that Chopin could not develop his themes. Example 27, taken from bars 137 to 140, shows how Chopin uses the introductory motif simultaneously with the first subject in the same passage:


[163] ibid., p. 241.


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