is often
possible to demonstrate a link between any two subjects. In so doing, an
analyst might be reading an affinity that is coincidental, not consciously or
subconsciously motivated. Attention is drawn below to instances in Réti's
analysis where it appears that he has overly manipulated data to fit his
claims.
Réti, like Leichtentritt, begins his analysis by exploring
the importance of the introductory four bars. He attests to their structural
importance, noting that: "The variegated and fantastic thematic picture Chopin
manages to evolve from this inconspicuous introductory shape is almost
incredible."
He illustrates the link between the introductory passage (Grave) and the first
subject by showing the contours of various parts of this subject, as shown in
Example 9.
Note how part (d) of this example is almost an exact replica of the grace-note
phrase in the bass of bar 3 of the Grave
(e).
