As noted in the introduction, Polish writings on music of
the nineteenth century contain only sporadic criticism of Chopin's works.
Chechlinska observes that the earlier works of the larger forms (ballades,
scherzi, and impromptus) were appreciated more than the later ones.
She cites leading critics who regarded the G Minor Ballade as "the most
magnificent," while the F minor Ballade was described as "less happily
conceived."
Today, few would dispute that the F minor Ballade is one of Chopin's greatest
works, and that it is the most beautiful of the set of four (a view supported
by Alfred Cortot, an eminent interpreter of Chopin's piano music).
From around Chopin's time up until the last quarter of the
nineteenth century, the public knew only a selection of Chopin's works - those
for piano and orchestra as well as works from the "second" period (i.e., the
1830s). Chechlinska notes that the later works, including the sonatas, and even
earlier works whose musical technique deviated markedly from the norms of the
time (e.g., the Prelude in A minor opus 28 No 2), were not readily understood.
It was not until the end of the nineteenth century that they became a part of
the standard repertoire, which is also around the time that reception of the
second piano sonata, although initially negative, was beginning to change, as
will be seen shortly.
The first major written criticism of Chopin's sonata opus
35 was that of Robert Schumann, which appeared in 1841. Known, inter
alia, for commenting on the works of his contemporaries, Schumann was unreserved
in giving his opinion. His criticism of this sonata is legendary, and is
referred to in almost any general discussion of this sonata in the literature.
It became the catalyst for a chain reaction of countless other
