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



Example 9: First movement: Link between the contours of the first subject

and the introductory motif[128]


First movement link between contours of first subject


Réti also discusses the importance of the motives in the second half of the first subject. Example 10 shows how he reduces this section to a phrase formed by a stepwise descent of four notes. Here again he illustrates unifying aspects of the first and second halves of this theme, where motif II is a "quasi-inversion" of motif I.[129] Furthermore, the bass accompaniment of the first subject forms a line expressing inversions of motives I and II, as shown in Example 11. The detailed analysis of this first subject reveals that not only the motivic detail, but also its wider melodic line are



[128] ibid., pp. 299-301.

[129] This is questionable; as noted above, Rti's method can often be used to relate any three notes to any three others. The emphasis here is certainly on "quasi".


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