concentrated themes, a phenomenon already noticeable in his early C Minor
Piano Sonata Opus 4.
In addition, as already noted by Réti, Klein observes that Chopin's themes are
all derived from a few basic motives. This is in agreement with Walker's view that, in
general, the sonata was subjected to a large amount of structural compression
in the eighteenth and nineteenth centuries.
In a monumental dissertation from 1981, John Bollinger
uses integrative and Schenkerian analyses to investigate the relationships
among unifying compositional devices within Chopin's opus 35. His work involves
the integration of several analyses, a summary of which follows:
1)
Foreground-Vertical-Linear
Analysis. This shows the fusion and interplay of the unifying intervals
(the major and minor third) of the Sonata within the pianistic texture.
2)
Compositional-Structure
Outline. This shows the basic structure of each movement, including details
of subject material, key changes, and the demarcation of each movement into its
respective sections.
3)
Chromatic-Scale
Analysis. This uncovers another unifying device in the Sonata: the
ascending and descending chromatic scale as it occurs in each of the four
movements.
4)
Diatonic-Major
and Melodic-Minor Scale Analysis. This shows the importance of major and
minor scales as unifying devices in each of the four movements.
5)
Reconstruction
Analysis. This involves the juxtaposition of material notated in sharps and
flats in the first, second, and fourth movements in order to show
chord-function continuity.
6)
Middle- and
Background Schenkerian Sketches. These corroborate the integrative
analyses, and include sketches of each movement as a separate entity, as well
as a final unified sketch of the entire Sonata.
