CHAPTER 1
The second piano sonata, in B flat minor opus 35, of
Frederic Chopin has long been the centre of controversy ever since Schumann's
negative comments thereon became widely known. This sonata is one of the most interesting,
and perhaps most discussed, of all Chopin's works, and has often been cited as
an example of Chopin's inability to cope with the large classical forms of the
German tradition, especially by commentators writing around the turn of the
twentieth century.
This view, however, slowly began to change. A few music
theorists began to question Schumann's opinion that, inter alia, Chopin was not comfortable in his use of sonata form.
They objected to the flurry of negative responses to this work; one even
claimed that it was because of only one critic's proclamation that Chopin was
not great enough to master sonata form, that scores of other critiques
followed, repeating that same opinion ad
nauseum. Those brave souls who opposed the norm were, it may be argued,
eventually proved correct in their assumptions by various analyses that
appeared in the twentieth century.
The purpose of this dissertation is twofold. Firstly, an
overview of reception to this sonata will be conducted, quoting and presenting
the opinions of various music critics, musicologists, pianists, and the like.
Beginning with the famous comment by Schumann in 1841, right up to the present
day, the writings of these people will be examined and critically evaluated.
This will enable the identification of a receptive trend which, in turn, will
be used to pinpoint the major turning point of change in reception and
understanding of this sonata.
Secondly, this change in reception will need to be
substantiated. This will be effected by study of the analyses of
twentieth-century musicologists who attempt to disprove the unsubstantiated
opinions of the earlier writers. These analyses range from the
