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



Example 7: Modulation from the Trio to the Scherzo in the second movement[121]


Modulation from Trio to Scherzo in second movement


The next important section of Leichtentritt's analysis, one that has been repeated ad nauseum by hosts of other writers, is that of explaining the absence of the first subject at the beginning of the recapitulation section of the first movement. Leichtentritt maintains that the first subject generates such a significantly large portion of the development section that to recapitulate it would be repetitive and ungainly.[122]


Apart from the Finale, which will be examined in Chapter Ten, the final point of Lechitentritt's analysis worth highlighting is that of Chopin's manner of linking the Scherzo and the Trio, a feature examined previously in the work of Herbert Weinstock on page 25. Leichtentritt maintains that the beginning of the Funeral March is prepared by the slow ending of the Scherzo, by means of an expertly placed ritardando (beginning bar 277) at the end of the Scherzo and the changing of time signature from 3/4 in the Scherzo to 4/4 in the March. The effect of this is that the March is heard as a continuation of the ritardando of the Scherzo owing to the stretching of the time signature and broader tempo.[123] This is illustrated in Example 8:


[121] Chopin, Fr�d�ric. Klaviersonate b-moll opus 35 (M�nchen: G. Henle Verlag, 1976), p. 18.

[122] Leichtentritt, Hugo. Analyse der Chopin'schen Klavierwerke, Vol. II (Berlin: Max Hesse, 1921-1922),p. 218.

[123] ibid., p. 227-228.


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