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



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."[126] 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.[127] 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).


[126] ibid., p. 299.

[127] ibid., p. 301.


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