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








In Frederic Chopin: Profiles of the Man and the Musician, Alan Walker devotes a number of pages to Chopin's second piano sonata in his chapter on "Chopin and Musical Structure." He, like Réti, emphasises the importance of the introductory bars, stating that they determine "...the thematic destiny of the entire work."[156] Walker interprets the falling diminished seventh and rising second in the bass clef of the Grave as "...the cells out of which Chopin's intuitive genius builds one of his most 'spontaneous' works."[157] This motif is shown in Example 23(b):


Example 23: Derivation of motif (b) from bars 1-4 of the first movement (a)[158]


Derivation of motif (b) from bars 1-4 of first movement

Building on Réti's analysis of the first subject of the Allegro, Walker states that an octave transposition of the first three notes of this subject shows that it clearly derives from the first three notes of the work, as shown in Example 24. Like Leichtentritt and Réti, he points out the derivation of the second subject from the first, where the first few notes of the second subject form an augmented version of motif X. This is


[156] Walker, Alan. 'Chopin and Musical Structure: An Analytical Approach,' Fr�d�ric Chopin: Profiles of the Man and The Musician ed. Walker, A. (London: Barrie and Rockcliff, 1966), p. 239.

[157] ibid., p. 240.

[158] ibid., p. 240.


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