Particularly interesting is the reason Samson offers for
the lack of the first subject in the recapitulation of the first movement. He
dismisses the oft-quoted opinion that its extensive use in the development
renders a repeat in the recapitulation redundant, stating that, by the same
token, many a Mozart movement would exhibit thematic redundancy.
Rather, he believes that the reason lies behind the choice of strongly
contrasting characters for the first and second subjects of the exposition;
this, in turn, has a profound effect on the overall shape of the movement.
The function of the Classical exposition is to present a
tonal opposition; the first subject is quoted in the tonic, while the second is
in a key other than the tonic. This tension is resolved in the recapitulation
with the return of the second subject in the tonic key. The first movement of
Chopin's opus 35, however, is conceived differently. Samson maintains that the
function of the lyrical second theme is to resolve the tension and drama of the
first theme, and that the response to the exposition (i.e., the development and
recapitulation) preserves this relationship.
Therefore, the drama and energy of the first subject is heightened by motivic
development while the stability and calm of the second subject is achieved
through a return to the tonic key. The
result is a model with an overall shape that inevitably results in a slackening
of formal and tonal bonds of the Classical sonata. This accounts for Samson's
proposition that the intra- and inter-movement motivic and thematic links (as
illustrated in Chapters Seven and Eight in the work of Leichtentritt, Réti and
Walker) assume a largely compensatory role.
As far as the Scherzo is concerned, Samson notes that it
takes "...its cue from the muscular, rhythmic energy of Beethoven," thus
highlighting a Beethovenian influence on opus 35, an issue discussed on page
65.
Again, he makes reference to Chopin's use of different genres embedded in one
movement; in this case a berceuse as the main subject of the Trio, and
suggestions of the polonaises and scherzi in the first subject of the Scherzo.
Likewise, he points to a nocturne embedded in the Funeral March. In conclusion,
Samson states that Schumann was correct in his observation that opus 35 is no
ordinary sonata. He cites the juxtaposition of contrasting, relatively
