Chopin: sonata for piano in Bb minor op.

35

The Polish composer and pianist, Chopin (1810-1849), is now acknowledged as

one of the leading 19th century composers who began a career as a pianist. His
music embodies the essence of romantic piano tradition, and it could be argued
that he demonstrates more fully than any other composer’s the expressive and
technical characteristics of the piano [www.oxfordmusiconline.com]. Although
certainly a romantic composer, Chopin’s technical mastery can be traced back to
Bach, as his chief training in both composition and keyboard playing came from a
study of Bach, which was a study that engaged him all his life. Alongside other
early experiences of opera and native Polish dances, the influence of Bach on his
music is present. As a composer, he was renowned for intuitive understanding of
formal design/ structure, an adventurous harmonic sense, a gift for melody and
virtuosic piano technique. Sonata for Piano in Bb minor Op. 35 (focusing on the
first movement) is a particular work that I believe demonstrates all of Chopin’s
great skill and style, capturing the spirit of Romantic music in this era, and is a
significant piece.

In terms of structure, this Sonata follows the typical form of Romantic sonatas,
consisting of four movements: Allegro, Scherzo, Funeral March and Presto. The
beginning of Allegro opens with 4 bars which are to be played grave and forte,
already indicating the catastrophic mood of this composition about life and
death. (insert quote). A restless atmosphere, extreme contrasts of expression and
subtle sonorities of sinister sounds are a consistent theme throughout, which
effectively portray a lot of personal emotions and unique characteristics about
the composer. This dramatic, expressive style of composing was essentially what
the romantic era was all about, which Chopin’s sonata clearly represents.

In bar 9 of the first movement the first theme of the exposition in Bb minor is
introduced, with a frantic, almost hysterical melody interweaving with the left
hand in a polyphonic fashion. Despite the dense polyphonic texture created
however a clear top line melody sings through, a trait common in Chopin’s work.
(insert quote). “It was certainly not innovative to ask the pianist to play the
melody louder than everything else, as the notation here implies. What was
original was to burry the melody within a polyphonic texture of such richness,
with chromatic passing tones and complex cross-rhythms, and to arrange for it
to stand out with such clarity from the shadowy mass enveloping it. This
polyphonic chiaroscuro was perhaps Chopin’s highest achievement in the play of
sonorities.” [Charles Rosen, The Romantic Generation, p. 368]. This mastered
skill and “form in which musical substance and technical difficulty
coincide”[Charles Rosen, p. 363] certainly confirms Chopin’s ingenuity and
significance in the 19th century. Furthermore, the dazzling facility of his part
writing, which was unmatched by any of his contemporaries [Charles Rosen, p.
285], perhaps suggests an influence from Chopin’s early idolization of Bach and
vigorous training from Bach’s studies.

At bar 40 the 2nd theme is introduced, a calm, lyrical melody in the relative major
key of Db major that contrasts wildly to the previous stormy theme; and from
this section we can gather more about Chopin’s influencial approaches to his
melodies. The most commonly used is the stanzaic melody, “whose internal
repetitions are modelled on variants of a well established archetype.” In this case
a traditional 8-bar long classical sentence at bar 41 in a homophonic texture,
followed by another 8-bar long classical sentence also homophonic (insert
quote). This phrase length was often similar to, or influenced by those of the
early 19th century operatic aria. [www.oxfordmusiconline.com]. At bar 57 we see
a repeat of the first 8 bar phrase, however now with an elaborated
accompanying layer, developing from the originally homophonic material. Then
at bar 65 the second 8-bar phrase is reinstated with an elaborated left hand, and
textural amplification in the right hand melody. With the way that Chopin treats
his melodies, it would be characterized above all as by a process of “cumulative
variation” where the melody is enriched, as in the example here.
[www.oxfordmusiconline.com]. Following on from the 8-bar phrase (bar 73),
Chopin then demonstrates his other approach to constructing melodies, this one
being a more free, non-repetitive melody, that unfolds continuously for 8 bars in
the manner of operatic arioso. [www.oxfordmusiconline.com] (insert quote).
This operatic style of melody writing comes as no surprise as Chopin’s music is
largely derived from his early experiences of opera [Charles Rosen p.285].

Chopin’s Sonata in Bb minor, op.35 received a mixed reception from

contemporaries and critics. One review in particular that captured both the
appreciation and misunderstanding of Chopin’s style however was from
Schumann. The funeral march (3rd movement), he wrote, “had something
repulsive about it,” and “the finale is a single line of triplets doubled at the
octave… with no added harmony until the last measure and no other indication
of dynamics…” Mendelssohn also hated the finale of Chopin’s sonata [Charles
Rosen, The Romantic Generation, p. 283]. Despite Schumann’s complaints
however he was clearly sensitive to the work’s power and conscious of its
importance, explaining that the unity of tone and colour that holds Chopin’s four
movements together is “not only impressive, but far surpasses the more
arbitrary technique of achieving unity by quoting literally from earlier
movements to later ones.” This technique was popular with some of Chopin’s
contemporaries such as Schumann and Mendelssohn, and can be argued to be
ahead of its time as it is present in works from later era’s (Ravel – discussed
later).

Chopin’s Sonata in Bb minor brilliantly showcases his mastery of the classical

forms, flawless technicality and expressive, romantic writing that portrays
personal emotion. The characteristics of this piece and Chopin’s writing style
make this work a true rarity with aspects ahead of its time, imprinting its
significance on the 19th century and influence on later music.