As noted earlier, sources prior to 1940 show reservations
about Chopin's sonata opus 35. This is not to say that nothing positive was to
be said; on the contrary, many were quite complimentary about certain aspects
of the work, as was Schumann for that matter. Moreover, counter-arguments to
Schumann's critique were appearing, the importance of which can be noted in
subsequent articles which used these propositions as a basis for further
expansion.
In his book Frederick
Chopin as a man and musician, Frederick Niecks begins his discussion of
opus 35 by critically analysing Liszt's view of the work quoted on page 13.
Referring to Liszt's statement that the "...Concertos
and Sonatas are beautiful indeed, but
we may discern in them more effort than inspiration," Niecks proposes that
there "...is no lack of inspiration here, nor are there traces of painful,
unrewarded effort."
Furthermore, he adds, "...each of the four pieces of which the sonata consists is
full of vigour, originality and interest."
This praise soon gives way, however, to a reservation as
to whether these four pieces can be called a sonata. Niecks questions whether
Chopin first intended to write a sonata, or whether these four movements simply
came into being "without any predestination, and were afterwards put under one
cover."
He does admit, though, that "...there is something gigantic in the work
which...impresses one powerfully," and objects to Schumann's abhorrence of the
third movement, although he does not offer reasons therefor.
