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



Example 4: Derivation of the third subject (top stave) from the first (bottom



Derivation of third subject from first

Leichtentritt also highlights the presence of rhythmic interconnection between themes. He emphasises the importance of the rhythm of the first subject of the first movement in that variants thereof are found in the themes of the Scherzo and the March.[115] As shown in Example 5, rewriting the rhythmic outline of the first subject in 4/4 reveals how extensively this rhythm is used throughout the Scherzo in various forms. The octave passage in bars 183-188, the accompaniment figure of the Trio, and the main theme of the Scherzo beginning in bar 1 are all rhythmically derived in some way from this first subject. Similarly, a link between this subject and the main theme of the March is also evident, as shown in Example 6:[116]


Example 5: Rhythmic interconnection between themes[117]

Rhythmic interconnection between themes


[114] ibid., p. 213.

[115] ibid., p. 225.

[116] ibid., p. 228.

[117] ibid., p. 225.


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