Chopin's Piano Sonata in B Flat Minor Opus 35 - The early analyses - Leichtentritt and Reti



introductory motif in that the motivic change from the sixth to the seventh is included as an ornament in the melodic line (the G-flat).[134] Thus both the first and second subjects are derivatives of the introductory motif. Réti emphasises the significance of this discovery, saying that these lines of Chopin, "...so often described as the archetype of purely emotional outpouring, are firmly rooted in structural ground."[135]


Example 12: The relationship between the first and second subjects of the first



Relationship between first and second subjects of first movement


Example 13: Ornamented version of the second subject (bars 57-59)[137]


Ornamented version of second subject


The third subject (beginning in bar 81) can be seen as a combination of the first and second subjects, as shown in Example 14. The brackets show the affinity between the second and third subjects, while the beginning of the third recalls that of the first.


[134] The A flat here is as Réti says - an ornamentation. Asserting its importance by linking it to the introductory motif is arguable as the note is not part of the subject per se.

[135] ibid., p. 302.

[136] ibid., p. 302.

[137] ibid., p. 302.


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