whole group tends. Réti also believes that Chopin had Motif Ib from
the Grave in mind when he formed the
Scherzo theme.
Example 16 shows the material from bars 9 to 11, which expresses motif I in its
full course from D-flat to B-flat to A-flat.
Example 16: Use of
motif Ib in the Scherzo
The links do not end here. As illustrated in Example 17,
motif II emerges next, in bars 17 to 20, though the stepwise descent of four
notes is adjusted to the 3/4 rhythm of the Scherzo.
Example 17: Use of
motif II in the Scherzo
If motifs I and II are to be found in the first subject of
the first movement and the main theme of the Scherzo, it is possible that the
Trio of the Scherzo would reflect the first movement's second subject.
Comparing the latter reveals that this is indeed the case, as shown in Example
18:
