4)
The fact that the Funeral March does not belong to the
rest of the work (Schumann's critique in Appendix A);
5)
The finale is mockery and not music (Schumann's
critique in Appendix A);
6)
Using the term "Sonata" to describe four seemingly
unconnected pieces (Schumann's critique in Appendix A/Niecks, page 15/Huneker,
page 18).
Furthermore, the harmonic analysis of Leichtentritt
unravels Chopin's unusual use of harmony, and places Huneker's claims of wild
chord writing in perspective. It would seem, then, that there is nothing much
else left to uncover, save for a more in-depth investigation of the structure
of the finale. That may be the case; yet analyses of this sonata were published
in the latter half of the twentieth century, revealing further interesting
features. These analyses will be the subject of discussion in Chapter Eight.
