Chopin's Piano Sonata in B Flat Minor Opus 35 - Recent Writings - Samson and Leiken



Table 1: The derivation of subject material in the exposition of the first



The derivation of subject material in exposition of first movement


Drawing from his observations, Leiken notes that one way of understanding the exposition of the Allegro is viewing it as a sequence of variations. One might note that a similar phenomenon can be found in Schubert's Quartet D. 887.


Leiken follows on from Samson's reasoning for the lack of the first subject in the recapitulation. He similarly dismisses the notion that heavy exploitation of the first subject in the development renders its restatement in the recapitulation redundant, his reasoning being that all themes are quoted in the development and that it is not based almost exclusively on the first subject as stated by Leichtentritt.[210] He adds that, since all the themes are variations of the same material, the development becomes yet another variation.[211] Furthermore, even if the first subject were the sole basis for the development, many Classical developments based only on the first subject are followed by a full recapitulation (e.g., Beethoven's sonata Opus 13). Leiken feels that although this approach was not used by Chopin in opus 35, it is valid in that after the


[209] ibid., pp. 167-169.

[210] ibid., p. 169.

[211] ibid., p. 169.


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