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



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.



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