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I ”-JJJ . . II J J I III" IIIhh’IMIIIJJIIII JJIJJJJ .IJIJJ H‘JJJ'JJJJJIIII LIII .I'JJJII CJIIIJ‘JIJI-fi l\ This is to certify that the thesis entitled CHOPIN'S APPROACH TO FORM IN HIS FOUR PIANO SCHERZOS presented by Julia Tieu-Luong Lam (Fang) has been accepted towards fulfillment of the requirements for _Ph_.D_.___degree in MEL M / -Major professon/ Date Nov. 28, 78 0-7639 " [P09 ’2 18 ’26:»: momma ‘ APR 2 5 2005 9516 05 JAN 1 8 2009 11250? r__l. OVERDUE FINES: 25¢ per day per ite- RETURMNG L IBRARY MATERIALS: Place in book return to remove charge from circulation records CHOPIN'S APPROACH TO FORM IN HIS FOUR PIANO SCHERZOS By Julia Tieu-luong Lam (Fang) A THESIS SUPPLEMENTARY TO THREE PIANO RECITALS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY IN APPLIED MUSIC, LITERATURE, AND THEORY Department of Music 1978 ABSTRACT CHOPIN'S APPROACH TO FORM IN HIS FOUR PIANO SCHERZOS By Julia Tieu-luong Lam (Fang) The study of form in Chopin's works has suffered neglect. One instance of this neglect is that various authors have criticized Chopin's approach to form as being weak or have confessed to being baffled by the form of his four piano Scherzos. This dissertation will thoroughly explore the Echerggetrio form in a historical context, and prove that Chapin's Scherzos show a creative and masterful deve10pment of form that expands the scherzo's power and versatility. Chapter I is a general study of the derivation and use of scherzo-trio form in the works of the Baroque and Classical composers. The four subsequent chapters are devoted to the research and analysis of Chapin's four Scherzos respectively. The analysis of each scherzo is preceded by pertinent biographical facts concerning the circumstances at the time of composition. Each of these chapters further divides into separate subject headings of formal structure, melodic structure, and harmonic and Julia Tieu-luong Lam (Fang) tonal structure. Many authors on Chopin questioned why Chopin used the title "scherzo" in these four works. Apparently, a detailed study of Chopin's four Scherzos has not been done. Some authors take refuge in calling them "a new form" (which they are not); others have speculated that Chopin was trying to confuse his contemporaries with this title; while still others have gone so far as to say that they are misnomers. Though lacking the lighthearted and playful style of a scherzo, the form that Ch0pin used in the four Scherzos is derived from the traditional §§§tignalmr form of the scherzo-trio movement used in sonatas, chamber works, and symphonies. Scherzo no. 1 follows a clear outline of the composite ternary form; Scherzo no. 2 involves a more complicated hybrid form--combination of the sectional three-part design with elements of sonata principle; Scherzo no. 3 has a structure of a four-part sectional form; while Scherzo no. 4 can be definedas an extended compound ternary form. Adding to the dimension of the form is ChOpin's extensive use of coda. The codas in ChOpin's Scherzos are deve10pments of primary thematic features. Traditional characteristics of a menuet-trio or scherzo-trio can be seen in the many repetitions of material in these works. The Baroque custom of writing the trio for three-parts can be seen in Scherzos nos. 1,2, Julia Tieu-luong Lam (Fang) and 4. Also, a conventional choice of keys is used by Chopin in the trios of Scherzos nos. 1, 3, and 4. ChOpin's group of four Scherzos is marked by family resemblances to each other. These works share the same triple time signature, and are all given a Presto tempo indication. The four-bar groups, with one count to a bar, are a characteristic phrase structure in these pieces. An extreme contrast in mood and tempo is seen in the trio section. The element of contrast is a distinctive element in the four Scherzos of ChOpin. In looking at the deve10pment of form in ChOpin's scherzos, one could hardly agree that form is the greatest piano composer's weakest point. By greatly eXpanding the form, ChOpin transforms the scherzo into a virtuoso piece of power and grandeur. It is haped that these studies can be a contribution to pianists in their inter- pretations of ChOpin's Scherzos. The edition of the Scherzos used in the discussion is ChOpin's Institute Edition, edited by Ignacy J. Pader- ewski (Polish Music Publication, 1974). ACKNOWLEDGEMENT I wish to express my gratitude to Professor Ralph Votapek, who served as my major advisor, for his time and assistance on the completion of this thesis. I am also grateful to Professor David Liptak for his valuable comments on the analysis of these works; Professors Edgar Kirk and Richard Klausli for their suggestion on the writing style; and Professors Joseph Evans and Glenn Wright for serving on my committee. Finally, I wish to thank my husband, Howard, for his understanding and encouragement. Without his moral support, this work could hardly have been completed. TABLE OF CONTENTS Chapter Page I. THE EVOLUTION AND EARLY USE OF MENUETS AND SCI-{ERZOS O O O O O O O O O O O O O O O 1 II. CHOPIN'S SCHERZO NO. 1 IN B MINOR, OP. 20. . 19 III. CHOPIN'S SCHERZO No} 2 IN BéFLAT MINOR, OP. 31 C . O O C O . C . . . O . . . . . O 42 IN CQSHARP MINOR, . . O . . . . C . . . 66 Iv. CHOPIN'S SCHERZO NO. OP. 39 . . . . . C 0 M v. CHOPIN'S SCHERZO NO. 4 IN E MAJOR, OP. 54. . 88 CONCLUSIONS . . . . . . . . . . . . . . . .107 BIBLIOGRAPHY . . . . . . . . . . . . . . . . . . . .113 ii CHAPTER I THE EVOLUTION AND EARLY USE OF MENUETS AND SCHERZOS The term "scherzo" had been used in compositions as early as the beginning of the seventeenth century. The literal meaning of the word scherzo in the original Italian is "a musical joke,"1 but the application of the term in the early stage is extensive. In the works of the Italian composers, scherzos were used as light canzonets2 in vocal solos or ensembles with instrumental accompani- ment. In the works of other composers, examples of scherzos were written for solo instruments with or without continuo. Monteverdi had written a set of Scherzi Musicali 1For these early works, the Italian plural scherzi is used. However, in the later usages, the word "scherzo" had been embedded in the English language, and the plural "scherzos" is used by various authors as often as the Italian equivalent. For the remainder of this disserta- tion, the English plural "scherzos" will be used. 2The definition for canzonet given in the Harvard Dictionary of Music is: "In the late 16th and throughout the 17th century, a short vocal piece in a light vein, much in the character of a dance song." 2 in 1607. These are airs for one voice with continuo accompaniment. All the examples except the last work in this collection, Que} Sguarde Sdegnosetto, were written in quadruple time, and the structure of one-part, bar- form, simple binary and ternary forms can be found in them. Subsequent sacred or secular scherzos were written by lesser known composers in the seventeenth century, Antonio Troilo (fl. 17th c.) wrote a volume of Sinfonie, Scherzi, a 1 1291 in 1608; Antonio Cifra (1584-1629) com- posed a set of Li Scherzi §§gri in 1613; Antonio Brunelli (fl. 17th c.) is best known for his three secular books of Scherzi, Erie, canzonette, g Madrigali written in the years of 1613, 1614, and 1616; and Biagio Marini (b.? d.l665) wrote a set of Scherzi g canzonette a 223: g dug 122; in 1622; instrumental scherzos were written by two Austrian composers--Scherzi dg violino gglg with bass continuo for organ or cembalo and bass viol or lute by Johann Jacob Walther (ca.l6SO-l7l7) and Scherzi musicali 233 la viola di gamba by Johann Schenz (1753-1836). In the Baroque suite, Johann Sebastian Bach in- cludes one scherzo in his keyboard partita no. 3--fan- tasi , allemande, courante, sarabande, burlesca, scherzo, gigue. The tempo indication for this dance movement is Allegro vivace, already anticipating the fast tempos of Beethoven's scherzos. It is repeated binary form in duple time, and is characterized by continuous sixteenth-notes and well-articulated rhythms. This appears to be the only example of a scherzo appearing in a dance suite during the Baroque period. The first time scherzos were used in classical compositions was in Haydn's six string quar- tets, Op.33, in which he replaced menuets with scherzos. In exception to the faster tempo indication (Allegro in- stead of Allegretto) seen in quartets nos. 2,.5, and 6, these scherzos show little stylistic differences with his menuets. After Haydn's Op.33, there was very little deveIOpment of the form until Beethoven. He gave the scherzos new distinction and dimension, using them con- sistently in sonatas, chamber works, and symphonies in place of menuets. After Beethoven, the scherzos gained a regular place in nineteen-century composers' works. The formal structure of Haydn and Beethoven's scherzos is derived from the menuet. At its introduction in the second half of the seventeenth century, the menuet was an official French court dance. It is recorded that King Louis XIV himself had danced the first menuet com- posed by Lully in 1653.3 This elegant dance was reserved for the aristocrats because they alone were taught the complicated figure of the dance--a combination of cross- rhythm between the triple time of music and left-right 3Willi Apel, "Menuet," Harvard Dietionary of Music, p. 531. pairs of dance steps.4 r---\ r-—-"-—\ r---\ Music 1 2 3 l 2 3 l 2 3 Steps 1. r. l. r. 1. r. 1. r. The menuet's antecedent dates back to the six- teenth century. Authorities like Willi Apel5 and Eric Blom6 have ascertained that the menuet evolved from a species of branles--a group of independent p0pular dances from that period. Thoinot Arbeau in his book, Orcheso- graphy,_gives the rhythm for at least twenty different types of branles. Among them, he shows four important kinds which were danced by three different groups of peOple: "The old peOple gravely dance the branles ubles and branles simples, the young married ones dance the branles gals, and the youngest of all dance the branles d2 Bourgogne."7 The grave branles doubles and sim les, and fast branles dg Bourgogne are in duple time, while the moderate branles gais are in triple time. Four 4Eric Blom, "Menuet-Trio," Music and Letters, Vol. XXII (1961), p. 169. 5w1111 Apel, "Branle," p. 105. 6Eric Blom, "Menuet-Trio," p. 175. 7Thoinot Arbeau, Orcheso ra h : a treatise in the form of a dialogue. lNengork: Dance Horizons, Inc., 1968), p. 113. 5 measures of the rhythm for branles gais are given by Arbeau (see example 1 below). Example 1. 3 JJJ JJIJJJJUJJJIJJJ’II Blom had made it clear that menuets originated from branles danced in the province of Poitou. This species of branles, branle d9 Poitou, is in triple time, and is possibly a transformation of branle gala. Two measures of rhythm for branle dg Poitou is given by Arbeau in the example below. Example 2. ‘3 JJJ JJJJIJJJ JJJ Jill However, according to Apel, the menuet is derived from branle‘§_m§ag; (this type of branles is not discussed by Arbeau). This is a follow-the leader type--one couple leads and the others follow; Unfortunately, there is no example of branle 5.22222 given by Apel or other sources. Apel further points out that this Species of branles survived into the seventeenth century as amener--a dance movement in moderate triple time with phrases of six measures (3+3 or 4+2). It appears in the suites of Heinrich Biber, J. K. F. Fischer, and Alessandro Poglietti. 6 The early menuets (given in the collection Philidor and Vingt Suites d'orchestra edited by Ecordeville in 1906) suggest very closely the liaison with the triple time and the phrasings of amaag; dance movement. Although there seems to be a discrepancy between Blom and Apel on which type of branles the menuet is derived from, the example of 222222 da Poitou8 given below shows obvious connectidn with both amener and branle fig 221123. Example 3. 2.2.9. Louis Coupcrin (1630-1665) Mcnuct dc Poitou For Harpsichord 8This example is taken from the Historical Antholo .gf Music edited by Archibald T. Davison and Wi1I1 Apel (London: Harvard University Press, 1973), Vol. II, p. 93. 7 The inscription of "Poitou" given by Couperin shows clearly its derivation from branle d; Poitou. Also, the two three-measure phrases can be compared to the two-measure rhythm given for branle d; Poitou in example 2, p. 5. If each measure subdivides into groups of three, two three-measure phrases in simple triple time result. Therefore, we can safely assume that menuets originated from the sixteenth-century branles sim les, which trans- finally ameners of the seventeenth-century dance suite. The menuet was the most cultivated dance of the eighteenth century. It became the only movement from the Baroque suite which survived in classical and romantic sonatas. The menuet alone is retained in the sonata scheme because its delightful and graceful nature provides pleasant contrast and variety between movements of a sonata. In the Baroque suite, the menuet appears as one of the Optional dances, and is often written in pairs-- menuet I, menuet II, with or without a return to menuet I. The term "trio" which later supersedes menuet 11, derived its name from the custom of writing the alternate dance for three solo instruments. In an orchestral suite, the solo instruments used are two oboes and one bassoon to contrast with the fully orchestrated menuet. A good example can be seen in J. S. Bach's Brandenburg Concerto 8 gg._1; Bach employs the term "trio" only when he does write for three parts in his keyboard suite, as in the third French suite and the Clavier Overture in F major. Eric Blom in his article "Menuet-Trio," describes the menuet as aristocratic in nature, while the trio is rustic.9 Occasionally, the trio assumes the character of the musette, which suggests the bagpipe as its bass instrument--the most rustic of all instruments. In orchestral writing, the congenial 5010 sound of oboes and bassoons best represents the bagpipe because they are the descendents of characteristically outdoor instru- ments. A trio does not always consistently follow a menuet in early compositions. It only becomes part of the entire structure--sectional part-form--in the son- atas, chamber works, and symphonies of the classical and romantic composers. In these works, the trio loses its old custom of writing for three parts, but designates only the middle section distinguishing from the first section in lighter texture, contrasting material, and a change of mode, or key to a related tonal area. The trio in the nineteenth-century works gradually becomes more lyrical in contrast to the more vigorous scherzo section. The Baroque menuet usually displays binary 9Eric Blom, "Menuet-Trio," p. 162. 9 design in both the menuet and trio sections. The outline of the form with aa capo is: Menuet trio menuet II: a t": bill "1 c=ll= d ill II a b H In J. S. Bach's keyboard suites, the menuets are mainly constructed on the binary design with or without da capo: simple binary design is seen in French suite no. 2 in C minor and no. 4 in E-flat major; two menuets in binary form without aa gapa are seen in Partita no. 1 in B-flat major, while two menuets in binary design with aa gapa are seen in French suite no. 3. in B minor and English suite no. 4 in F major. Some texts incorrectly refer to Haydn as the first to introduce menuets into his symphonies. Menuets are often included as the closing movements in Jean- Baptiste Lully's (1632-1687) ballet music and Alessandro Scarlatti's (1660-1725) Operatic sinfonia. They are found as last movements in the sinfonia of Giuseppe Tartini (1692-1770) and G. Ba Sammartini (1700/1-1775). Johann Stamitz (1717-1757), founder of the Mannheim orchestra, had eXpanded the pre-classic sinfonia from three movements to four by adding a fast finale after the menuet. Stamitz' menuets consist of two strains of eight measures each, but the trio's second strain is extended to sixteen measures. Austrian composers Mathias Georg 10 Monn (1717-1750) and Georg Christ0ph Wagenseil (1715- 1777) followed the four-movement scheme of Allegro- Adagio-Menuet-Allegro. The same sequence of movements was adopted by Haydn, Mozart, and Beethoven in their string quartets and symphonies. Beethoven, however, was the first to write sonatas for four movements, re- placing many menuets with scherzos. Menuets appear as last movements in Johann Christian Bach's (1735-1782) keyboard Sonatas, Op. 5 no. 1, no. 2 and Op. 12 no. 2, and Wagenseil's harpsi- chord Sonatas nos. 1, 3, 4, 5, and 6. Writing menuets with variations was common as seen in Baldassare Galuppi's (1706-1785) sonata no. 15 and J. c. Bach's sonata, Op. 12 no. 1. These pre-Classic examples illustrate a repeated binary design in each section followed by 3 aa gapa of the first section. Haydn changed the French Spelling "menuet" to the Italian "minuet" in his works. The German Spelling "menuett" was employed by Mozart and Beethoven.10 It is the slightest and shortest movement in the composi- tions of Haydn and Mozart, and is invariably written in one of the following forms. 1, both menuet (A) and trio (B) are binary. This is the most commonly used. 10For the purpose Of consistency in this disserta- tion, only the French "menuet" is used. 11 A B A I ‘1 r fl l—-—-‘ H: a :II: b:" H: c :II: d:I ||a b|| 2, A is rounded binary, and B is two-part, or the reverse. A B A I fl I H: a :II: b a:l N: c :II: d:” Ila b aII 3, both A and B are rounded binary followed by a return of A. This sectional three-part form is seen more often in the later works of Haydn and Mozart. F ,__ ’— H: 3 :||: b a:||1 ”: c :||: d a"1 fla fl all A B A b In the early works of Haydn and Mozart, the trio shares similar material with the menuet as well as con- trasting material. In some works, the trio has the same key as the menuet, while in other trios, a change of mode or key to a related tonal area can be seen. A predilec- tion for the change of mode is seen in Haydn's composi- tions. Mozart preferred a modulation to the subdominant. In later works, Haydn employed a mediant relationship between the menuet and trio as in his Symphonies no. 99 and no. 104. An interesting contrapuntal device is seen in his Symphony no. 47, written a; rovescio--the second part of both the menuet and trio is the same as the first 12 part played backward. Haydn and Mozart generally followed the four-move- ment plan in their symphonies, with the menuet-trio appearing as the third movement, or, occasionally, as the second movement. In the three-movement symphonies of Haydn, the menuet-trio is either placed as the second movement or last movement. In Mozart's three-movement works, a menuet is seldom included, with the notable exception of Symphony no. 7. Most of Haydn's string quartets consist of four movements, with the menuet-trio placed as the second or third movement. In all the quartets of Op. 9 and Op. 17, the menuet is always seen as the second movement. Mozart wrote his string quartets in three movements as often as four movements. In the _ four-movement works, like Haydn, he placed the menuet as the second or third movement. Again, his quartets in three-movement scheme rarely include a menuet movement (except quartet no. 29). Mozart had written an unusual menuet movement with two different trios in his Clarinet Quintet, K. 581/iii, which result in a composite five- part form: A-B-A-C-A. This is an innovation which will be followed by some nineteenth-century composers in their scherzos--Schumann's symphonies no. 1 and no. 2, Brahms' symphonies no. 2 and also, his Piano Scherzo, Op. 4. The norm for Haydn and Mozart's piano sonatas is the three-movement version. Among Mozart's eighteen piano sonatas, there are only two menuets and trios, l3 placed as middle movements in Sonatas K. 282 and K. 331. Haydn used menuets in about half of his piano sonatas, as either an inner or last movement. Although Haydn wrote some of the most charming menuets, he was dissatis- fied with them, and said that "he wished someone would write 'a really new minuet.'"11 Perhaps this is the reason why in his string quartets, Op. 33 (known as the Russian Quartets), the inscription "scherzo" or "scherzando" is given instead of menuet. Hence, this set was also given an alternative name g1; Scherzi. This is the first use of the term, adapting the Structure of the menuet's psectional three-part form. In Haydn's piano sonatas, a scherzo is included in H. XVI/9/iii and a scherzando is given in H. XVI/36/ii. As though Haydn had not quite adopted the practice of sub- stituting scherzo for menuet in his sonatas, these two movements are placed side by Side with a menuet-trio. The scherzo in Sonata H. XVI/9/iii has a simple ternary design. It is placed as the finale, following a menuet-trio. However, the scherzando in Sonata H. XVI/36/ii which pre- cedes a menuet-trio movement, has a rondo design. Both the scherzo and scherzando are in duple time, marked Allegro, and are characterized by continuous sixteenth- 11Donald Jay Grout,_a,History gf'Westexn,Mu§ig, revised edition (New York: W. W. Norton 6 Company, Inc., 1960), p. 481. 14 notes and sharp rhythms. (resembling J. S. Bach's scherzo in Partita no. 4). Muzio Clementi (1752-1832) had written two scherzos in his Gradus ad Parnassnm, no. 82 and no. 97. These two pieces are technical studies, marked Allegro molto, but have no formal adherence to the familiar menuet move- ments. With Beethoven, the four-movement scheme becomes standard in his early piano sonatas. A menuet-trio or scherzo-trio is regularly placed as the third movement. Even though Haydn had used scherzos to replace menuets first, Beethoven is acknowledged as the father of the modern scherzo. His scherzos are merely successors to the menuets in formal structure; stylistically, they show distinctive characteristics. These inner movements are no longer the least significant and easiest to play, but become more brilliant and substantial. Beethoven's scherzos are characterized by faster tempos, driving staccatos, sud- den sforzandos, Shiftings of the accents by syncopation, sprightly rhythms, playful elements, and violent dynamic contrasts. The menuets which Beethoven continued writing, however, retain the moderate tempo and graceful dignity of the Baroque dance suite. In many of Beethoven's scherzo-trio or menuet- trio movements, both sections are two complete pieces in Simple ternary design. The combination of the menuet, 15 trio, and menuet aa Saga, results in a large sectional three-part form, or more properly referred to as "com- posite ternary form." Short codas are added by Beethoven into the form as seen in the scherzo of the piano Sonata Op. 2 no. 3/iii, and menuets of Op. 14 no. l/ii, and Op. 31 no. 3/iii. The coda in the scherzo of Symphony no. 3 is distinguished by a change of time from triple to duple. The repetitions of parts are rarely strict, but are treated in varied forms by Beethoven. While many trios of Beethoven and other nineteenth-century composers' scherzos Show more lyricism and have slower note-values, the trios in Beethoven's piano sonatas are often given faster note-values. In contrast to the basic quarter-note values of the first section, the trio or minore section has eighth-note accompaniment patterns (Op. 2 no. 1/iii), as well as triplet patterns (Op. 2 no. 3, Op. 7, Op. 10 no. 3), and even sixteenth-note patterns (Op. 22). In his thirty-two piano sonatas, Beethoven had only indicated seven movements with the title "scherzo." The tempo indication in these seven scherzos is increas- ingly faster--Allegretto (Op. 2 no. 2/iii), Allegro (Op. 2 no. 3/iii), Allegro assai (Op. 14 no. 2/iii), Allegro molto (Op. 26/iii), Allegro vivace (Op. 28/iii), Allegretto vivace (OP. 31 no. 3/ii), and Assai-vivace- Presto (Op. lO6/ii). While Beethoven's menuets are written in the moderate tempo of Allegretto with three beats per 16 measure, his scherzos are counted with one pulse per measure. An extended plan is used by Beethoven, which is referred to as "Grand Scherzo" by Ian Spink.12 This form involves two repetitions of the trio and a double aa gapa of the scherzo section, and the large outline results as A-B-A-B-A. This is seen in the Sonata for Cello and Piano in A major, Symphony no. 4 and no. 7 (Although the third movement in neither of the two symphonies is given an inscription, it is clearly a scherzo.) The forms which Beethoven used in his piano scherzos are varied. Sonatas Op. 2 no. Z/iii, Op. 2 no. 3/iii, Op. 26/ii, and Op. 28/iii follow the conventional composite ternary form. The scherzos which are treated other than composite ternary form are seen in Sonatas Op. 14 no. 2/iii, Op. 31 no. 3/ii, and Op. 106/ii. In Sonata Op. 14 no. 2, the scherzo is placed as the finale in a three-movement scheme. The time signature is 3/8, but the form and style are clearly rondo- like. The second movement of Op. 31 no. 3 is a scherzo, having a sonata-allegro form. This movement is--1ike Hadyn's scherzo in Sonata H. XVI/36 and scherzando in H. XVI 36/ii--in duple time, and is placed side by side with a menuet-trio. However, the swift tempo, staccato 12Ian Spink, Ag Historical Approach 59 Musigal Form (London: William Clowes and Sons, 1967), p. 125. l7 sixteenth-notes, humour, playfulness, and sudden sfor- zandos in synCOpation are in the style of Beethoven's scherzos. Free treatment of the scherzo form is seen in Beethoven's Sonata Op. lO6/ii, which has the following general outline A-B-C-cadenza-A (with extension)-transition- like-A'. Both C and the transition-like passage near the end are marked by very abrupt change of time and tempo. Great contrast of material and mood are apparent at each section. The emancipation of the traditional form as illustrated in this scherzo is typical of Beethoven's late style. In summary, we have seen that the structure of the menuet remains strict in the compositions from the Baroque to the nineteenth century. It originated from a species of branles in the sixteenth century. The scherzos in the works of the early seventeenth-century composers have no relationship to the present scherzos. J. S. Bach incorp- orated a scherzo in his Partita no. 4, which shows some similarity with Haydn's scherzo in Sonata H. XVI/9/iii later. Haydn substituted scherzos for menuets in his string quartets, Op. 33. It was Beethoven who greatly deve10ped the scherzo form, and established it as a regular movement in sonatas, chamber works, and symphonies. Freer Structural design as well as an extended plan are seen in some of his middle and late works. The nineteenth-century composers gradually turn 18 away from the chief large form of piano music--the sonata- to the smaller form, mainly A B A. ChOpin is very fond of this simpler form, where B material is contrasting rather than developmental. His four Scherzos are among the large scale works which ChOpin deve10ped from this smaller form. He was the first to transform the scherzos into independ- ent virtuoso pieces, and further expanded the form. Chopin's four scherzos Show even more brilliancy, virtuos- ity, and greater increase of Speed in comparison to Beethoven's scherzos. Further, ChOpin's set of four character pieces are highly personal and dramatic, express a series of intense mood and emotion--anger, passion, tenderness, longing, nostalgia, melancholy, and fantasy. In Chopin's works, an extreme contrast of mood and tempo is seen in the trio section. The Baroque practice of writing the trio for three parts which had long been neglected by the classical composers, is now the prevailing texture in ChOpin's Scherzos nos. 1, 2, and 4. Further, the old musette form is apparent in the trio of Scherzos nos. 1 and 4, where the drone bass of a bagpipe is re- presented with pedal bass. ChOpin'S set of four scherzos has been called a misnomer and a new form by some authors who have not studied and analyzed these works. Structurally, these pieces are an outgrowth of the scherzo as a movement in a sonata and fully justify the application of the title "Scherzos." CHAPTER II CHOPIN'S SCHERZO NO. 1 IN B-MINOR, OP. 20 Biographical Eagga On the evening of November 2, 1830, the twenty- year old Frederick Chopin began the most momentous journey of his life, not knowing that from then on he would become an exile from his beloved Poland. Newly graduated from the Warsaw Conservatory, Chopin was urged by his teacher, Josef Elsner, and colleagues to pursue a career in Vienna in order to develop his art in a more cosmopolitan cultural environment. DeSpite his heady success as a result of two debut concerts there the previous year, the eight months in Vienna proved to be a great disappointment to the young Chopin. The year before, Vienna had welcomed him when he did not intend to make his living there, and would not be a threat to the already saturated musical community, But now, when he had returned to make a career, he found him- self in an unfriendly environment, beset by disappointments, frustrations and intense loneliness. He was constantly thwarted in his attempts to schedule concerts and publish 19 20 compositions. It was not until April that Chopin was able to appear in a public concert, and even then, it was only as one of ten artists on the program. He played his E-minor concerto without an orchestra. In a deep mood of disillusionment, Chopin confided his feelings to a friend: I can do nothing in the way I want. I have to dress up, do my hair, put on shoes and have a detached and satisfied look on my face in their drawing rooms--it is only when I get home that I can let myself go on the piano just as I please. I am the intimate friend of nobody, but I have to be cordial with everyone...But how am I to get away? Go to Paris? It was also then that news of the Polish uprising against the Russians arrived on November 29, 1830. ChOpin's already unsettled state of mind was further disrupted by this news. He poured out his despair and fear for the future of Poland in a passionate entry in his diary: ...But perhaps I have no mother any more. Perhaps some Muscovite has killed--murdered her. My sisters, raving, resist. My father, in despair, is helpless. There is no one to help my mother. And I here am idle, empty-handed. Only sometimes I groan and suffer and pour out my despair at the piano. But what's the use? Oh God, Oh God, shake the earth, let it swallow up the people of this age. May the most cruel tortures torment the French who did not come to our aid.2 It was in this mood, then, of longing and help- 1Alfred Cortot, la Search Q; ChOpin (New York: Abelard Press, 1952), p. 106. ZStephen Miswa, ed., Frederic ChOpin (Published under the auspices of the Kosciuszko Foundation;‘1949), p. 24. 21 lessness that ChOpin composed the B-minor Scherzo, the G-minor Ballade, the D-minor Prelude, and the Revolution- ary Etude. These well-known compositions, all in the minor key, were composed between the years 1830 and 1831. The B-minor Scherzo, which was begun in Vienna and com- pleted in Paris, especially conveys ChOpin's impetuous and fiery mood. The work was published in 1835 by Schlesinger (Paris) and Breitkopf G Hartel (Leipzig). It was dedicated to T. Albrecht, an attache of the Saxon Legation in Paris. Formal Structure Of the four Scherzos, the structure of the B- minor Scherzo is closer to the composite three-part form than the other three. The work has the following outline: Introduction Scherzo Trio .Scherzo Coda WA:"BABP]]||CDCDC'" “A B A" The repeat of B A in the first section is written out by Chopin, rather than indicated by a repeat Sign. In the middle section, Chopin reverses the usual order of H: C :"z D C :" into ":C D :H C' H , thereby, indicating even at this early stage in his career, the individualistic character of his genius. ChOpin rarely adhered to a strict plan, but rather usually amended the form to meet his aesthetic and musical intention. The B- minor Scherzo is the most conservative of the four 22 Scherzos, having a structure which corresponds closely to scherzo-trio form as it was generally used in the classical sonata. The mood of the trio provides sharp contrast to that of the first part. The change of mode in the trio section is traditional. Haydn himself used this modal alteration hi the minuets of his early string quartets. The first main section which is preceded by an eight-measure introduction, has a very clear-cut ternary design: A with repeat--measures 9-68; B--measures 69-124; return of A--measures 125-184; and repeat of B A--measures 185-140. I The work Opens with two clashing dissonant chords-- iig - V2 moving from the first chord near the top of the keyboard to the second chord near the bottom. In part A, two parallel phrases move in upward sweeping motion building to a crescendo. They are followed by two phrases in downward sweeping decrescendo motion which are then' met at the top by three powerful chords at measures 43 and 44--G6/iv, ivg, viig. The closing section of part A (measures 44-65) conveys a musical dialogue between the treble and the bass parts. This section moves in Slower note values and has distinctive thematic ideas (see example 4 p. 23). 23 Example 4. Scherzo in B minor, mm. 44-57. ruemuo 13> j?- if , :- rilenula \z Part B, measures 69-124, resumes the fast eighth-note motion of Part A before the closing section. In this section, extensive chromaticism is used. Melodic emphasis in each phrase is given with an accent mark. We see, also, that this agitato section builds from sotto voce to a climax in fortissimo at the last phrase (measures 110-124). The bass in the first phrase (measures 69-72) starts in the same manner as at the beginning of part A (see example 5 below). Example 5. Scherzo in B minor. agilato sotto voce . > B The trio(measures 305-388) has three distinct parts: first part, C--measures 305-320 and D--measures 321-336; second part, C and D repeated together--measures 337-368; and third part, C--measures 369-384. Therefore, the trio illustrates reverse order of the traditional 24 ternary form. In contrast to the stormy first section, the trio has a mood of celestial calm. The trio theme is a well-known tune taken from an old Polish Christmas carol Lulajze Jezunin translated as Slaap, Baay_gaaaa by Herbert Weinstock. The original tune, as given by the Polish ChOpin Institute edition, is: Alan Rawsthorne describes the impression he had when he once heard it sung by a Polish peasant. I once heard a Polish peasant singing this tune, high up in the Tatra Mountains. The effect was strangely moving in the stillness of the craggy rocks with their patches of snow. His voice came from nowhere in particular, ventriloquially, floating through the mountain air. He sang with abandon, in a quite uninhibited fashion, and with a certain hard, almost ruthless quality that enables the Slavs to geg to the heart of their most poignant melodies. ChOpin'S quotation of this Polish Christmas carol is undoubtedly due to his nostalgia, as revealed in his writing, during his first Christmas away from home in Vienna. At midnight I walked slowly all alone to St. Stephens. When I entered, no one was there. Not to pray, but to look at the immense structure 3Alan Rawsthorne, "Ballades, Fantasy, and Scherzos" in Cho in, Profiles gf_the Man and Musician edited by Alan WalRer (New York: Barrie E Rocinff, I966), p. 65. 25 at this hour, I stood in the darkest corner at the foot of a Gothic pillar. The Splender, the ,grandeur of these enormous vaults, is indescrib- able. It was quiet--only occasionally was my reverie broken by the footsteps of the sacristan lighting candles at the rear. A coffin behind me, a coffin beneath me...only above one there was no coffin. A wonderful harmony was brewing in my head...More than ever I felt my loneliness. The interpretation of this theme is commented upon by Artur Rubinstein: "The trio of the B-minor Scherzo, is based on the Polish Christmas carol Lulajze Jezunin. Thus this section should be played underlining the melody in the following manner: But it Should not be played as the following version, as so many editions have printed it, and so many pianists play it."5 {T/ ‘ >- Two symmetrical eight-measure phrase of theme C 4Casimir Wierzynske, The Life and Death 9f ChOpin (New York: Simon G Schuster, 1949), 1949), p. 132. sDean Elder, "A Conversation with Artur Rubinstein," Clavier, Vol. VIII, No. 6, September, 1969, pp. 1420. 26 (measures 305-320 and measures 337-352) are followed by two eight-measure phrase of D (measures 321-336 and measures 353-368). The melody of theme C is in even quarter note values, while theme D is characterized by the rhythm: J J J’ . Measures 385-388 comprise four- measure retransition leading to the return of A. ChOpin startles us here with a sudden outburst of the two opening chords. Inserted between these two chords is the undis- turbed, quiet accompaniment pattern of the right hand, which underscores the dramatic effect of the two thundering chords. Example 6. Scherzo in B minor, mm 382-388. ITguq \ \ >. . rues. /"'fi as: (enlando - O C 'nm e, ¢ Li a Following the tranquil mood of the trio, the entire A section returns. Measures 389-566 provide an exact return of the large A section (measures 9-302) with- out the first repeat of part A. The coda comprises two parts: first part--measures 601-625. The first part builds from a forte level to a fortissimo, then to the climactic chords in fortistissimo. The last part stays fortiSSissimo till the end of the work. This part consists of descending tonic arpeggiation 27. followed by an ascending chromatic scale leading to the tonic note at the top. This chromatic scale is often played in alternated chromatic octaves after the virtuoso style of Franz Liszt.6 The two powerful chords at the end of the piece echo the two chords at the beginning. In.comparing the structure of thetwo large A and B sections, the former is distinguished by a hemiola rhythm (see example 15, p. 32), while the latter section is marked by a very even and uniform rhythm (see example 21, p. 37). A noted distinction between the two sections is also_seen in ChOpin'S use of the piano register. In the two introductory chords as well as the large A section, the extreme compass of the piano is well explored. In the trio section, however, ChOpin keeps it within the middle of the keyboard register. This is a structural feature which is found also in Scherzos no. 2 and no. 4. Melodic Structure The Scherzo ig.§_mingr is unified by two well- defined melodic features: the descending diminished seventh (G-A#); and a figure with a two-note slur motive. 6In the Historical and Analytical Comments given by James Huneker in the Schirmer edition of the Chopin's Scherzos, he mentions that it was Tausig who taught his students to use the interlocked octaves. However, Huneker Speculates that Liszt used them before anyone else. 28 The descending diminished seventh, G-A#, is used prom- inently in this scherzo. This interval can be found in several key structural points such as the introduction, the end of parts A and B of the large A section, the end of the trio section, and the end of the returning A section. It is first seen in the bass of the two introduc- tory chords (see example 7). Example 7. Scherzo in B minor, mm. 1-8. >’\ ' 1 ff- The diminished seventh recurs at the beginning of the closing section of part A (measure 44). Example 8. Scherzo in B minor, mm. 44-45. ritenulo P::=" 1" At the close of part B, it reappears at measure 124 and acts as a transition leading to the return of part A. 29 Example 9. Scherzo in B minor, mm. 121-125. In. a in. e an. e an. e =\~ At the retransition to the returning A section, measures 385-388, it recurs in the bottom of the two fortissimo chords. Example 10. Scherzo in B minor, mm. 385-388. 82-: rile». At the conclusion of the returning A section, measures 567-578, the diminished seventh is heard in the top voice of a dominant-ninth chord progressing to a dominant-seventh chord (see example below). Example 11. Scherzo in B minor, mm. 562-568. > creac.- - - - - ‘ 30 Its inversion, the augmented second, is found in the tap notes of the two climactic chords (measures 599- 600) in the midst of the exciting coda, bringing this motivic element to its final conclusion (see example 12 below). Example 12. Scherzo in B minor, mm. 599-600. e The second melodic motive, the two-note figure, appears frequently in several thematic ideas contained in the work, often in a concealed form. In other instances, the two-note figure is a chromatic second which results from the resolution of the diminished seventh-~the two motives are reciprocal to each other. The combination of the two motives is first seen in measures 1-9. The delayed resolution of the diminished seventh seen in the two introductory chords is interpolated by another diminished seventh and its resolution (see example 13, p. 31). 31 Example 13. Scherzo in B minor, mm. 1-9. In the closing section of part A, measures 44-58, the diminished seventh and its resolution interact to form a three-note figure in the bass. This bass figure and the two-note motive seen in the right-hand passage are essential thematic features (see example 14). Example 14. Scherzo in B minor, mm. 44-57. ritenulo P::=’ In part A, the two-note motive is prominently used in both the right-hand and the left-hand lines. The two- note figure appears in two linear lines of the right-hand passage in measures 13-15 and measures 21-23 (see example 15). 32 Example 15. Scherzo in B minor, mm. 9-15. / *9 ‘3 r7rt—'-1, '5 4i ;1\ :24: 2‘1 : In measures 25-33, a two-note figure in the tOp voice of the left-hand harmonic line is stressed, while chromatic seconds can be found in the right-hand passage. Example 16. Scherzo in B minor, mm. 29-33. In measures 79-85, the two-note group is apparent in the chromatic descending line played by the left-hand thumb every two measures, while the two-note figure is seen within the three-note Slur in the lower bass part. Example 17. Scherzo in B minor, mm. 79-85. 33 Example 17 continued. hm ' a In the coda, the two-note motives are intrinsic to the longer phrase. Example 17a. Scherzo in B minor, mm. 570-590. mwvflh i f 34 An interesting note is mentioned by Paderewski in the commentary of the Polish Chopin Institute edition concerning the climactic phrase in fortistissimo in part B (measures 110-116). Paderewski quotes the following editorial version in Leschetizky's edition of this 5 Scherzo. Thus, it makes the left-hand and the right-hand pattern symmetrical, which Paderewski seems to approve of. This may make sense when we observe the next two phrases (measures 117-124) in which the left hand and the right hand form a symmetrical pattern also, i.e., the right- hand pattern is a retrograde of the left hand's (see the example given). Example 18. Scherzo in B minor, mm. 117-120. 5Frederic Chopin, Scherzos, la Com lete Works, Vol. V, ed. by Ignacy J. Paderewski (Warsaw: Chopin Institute, 1950), p. 91. 35 Tonality andHazmonig Structure In this work, ChOpin employs only one change of mode and one other tonal area besides the tonic B minor. Both alterations occur in the trio section: theme C is in B major and the second phrase of theme D is in G-sharp minor. There are frequent uses of chromaticisms and dissonant intervals (the diminished seventh, augmented second and augmented fourth), chromatically altered tones (most of which form the chromatic two-note figure discussed above), altered harmonies, dominant harmonies and second- ary dominants. Heavy use of reiterated tonic and dominant pedal points are seen over long phrases. In part A of the large A section, pedal tonic and dominant bass notes consistently recur. In the first phrase (measures 9-16), a tonic bass is reiterated over the predominant tonic harmony. In the second phrase (measures 17-24), the tonic pedal bass remains, while the harmony is centered on the subdominant. Dominant harmony prevails in the next two phrases, with a dominant pedal in the bass. This dominant bass finally gives way to a new bass line in measures 37-43, at which point the harmony is changed to a diminished seventh chord. A retrograde of this bass line is seen in the tap voice of the next three chords (see example 19p, 36). 36 Example 19. Scherzo in B minor. mm. 9-44. 37 In part B, dominant pedal bass notes are reiterated first in measures 101-109, and subsequently, the corres- ponding repeated passage in measures 217-225 (see the example given below). Example 20. Scherzo in E minor, mm. 217—225. In the "berceuse" accompaniment which embellishes the Christmas carol tune, bell-like dominant notes are heard in the top voice over tonic notes in the bass (see the example given). Example 21. Scherzo in B minor, mm. 305-309. Tonic pedal bass notes are heard in the descending arpeggiated passage in the coda from measure 601-609. 38 Example 22. Scherzo in B minor, mm. 601-609. con brie U7 I ChOpin often gives emphasis to a dissonant chord by repeating it many times for dramatic effect. Two such chords in the coda are worth mentioning. From measure 581 to 584, a supertonic four-three chord is stated four times, clashes with the leading tone in the right hand. The G in the bass and the A# in the treble form an aug- mented second, which is the inversion of the distinctive diminished seventh already discussed earlier. Example 23. Scherzo in B minor, mm. 581-584. 8--.-0.-- - .-----.--.---...-o-an.o—..... an.-. oooooooooooooooooooooooooooooooooo u I \ G As the coda comes to a fortississimo summit, a more dissonant chord is introduced. The tonic Six-four with an added sixth and an added raised fourth is stated 39 nine times (measures 594-599) until it finally progresses to a dominant-seventh chord at measure 600. Example 24. Scherzo in B-minor, mm. 594-599. The chromatic motion in the three transitional chords which change mode from b minor in the first section to B major in the trio section creates new beauty in harmonic color. The second inversion of the supertonic- seventh chord in measure 298 progresses to a French sixth, which is then followed by the dominant-seventh of B major (the upper grace-note B resolving to A# is a 4-3 suSpension). In this example as well as many other examples of mode change and modulation, ChOpin takes ut- most care to achieve smooth voice-leading. This technique reflects Chopin's careful study of J. S. Bach's composi- tions, whom he admired above other composers. Example 25. Scherzo in B minor, mm. 297-304. 3 > b: “4: i=6 B‘Y7 40 A written-out enharmonic modulation occurs at the _end of theme D modulating from G-sharp minor back to B major, the key of theme C. The harmony at measure 334 is a leading-tone seventh chord in G-sharp minor, Spelled Fx A# C# E, while at the next measure the note Ex is spelled enharmonically as GH. A second-inversion leading- tone seventh chord in the key of B major results from this enharmonic change. This color change from Fx to ON must be brought out with sensitivity by the pianist so that the listener is brought to a subtle awareness of the harmonic fluctuations. Example 26. Scherzo in B minor, mm. 331-336. 53 . ‘ (in. may. >< /"‘\ 3 B: vn ‘3" -Y7 We have seen that the formal structure of the B- 9", 1 minor Scherzo conforms to the scherzo-trio plan of a classical sonata movement with modification. The middle part resembles the trio of a scherzo movement in its mode-change, in the contrast between mood and tempo, and in its lighter texture. But while the first section is often brought to a definitive conclusion by a final cadence, the harmonic progression ending the scherzo section leads directly into the trio section without 41 a pause. The extended use of a coda as seen in the B-minor Scherzo as well as the other three Scherzos_gives an addi- tional dimension. In this way, ChOpin creates innovation and excitement in the scherzo form. CHAPTER III CHOPIN'S SCHERZO NO. 2 IN B-FLAT MINOR, OP. 31 Biographical Facts The eight-month stay in Vienna had proven to be a period of intense loneliness and frustration for Chopin, with little promise for any meaningful progress in his career. Finally, he decided to set out for Paris which attracted artists of every kind at the time. It was here that ChOpin found the only congenial home away from his native Poland, and he remained there for the remaining nineteen years of his short life. In Paris, ChOpin began to concertize once again. With the help of Camille Pleyel and Frederick Kalkbrenner, he appeared in his first concert along with several of the best artists of Paris in February, 1832. He played his F-minor paaaa concerto and Variations.pp La Q1 harem La Mapp, as well as a two-piano work with Kalkbrenner, who was celebrated as the undiSputed king of pianists in Paris for many years.1 Pleyel Hall was filled with ' 1Chopin had taken a couple of lessons from Kalkbrenner, but was persuaded by Liszt and Hiller that he was already playing better than Kalkbrenner, The . lessons discontinued, and Kalkbrenner and ChOpin remained on good terms. 42 43 important members of the Parisian musical community, and the concert proved to be a huge success for ChOpin. Both Liszt and Mendelssohn were in the audience, and Liszt declared that "the most redoubled applause would not match his enchantment."2 The concert marked the beginning of a new life for Chopin and his entrance into the inner circle of the elite in Paris. By chance he met Prince Walenty Radziwill, who took him to a soirée given by the Baron de Rothschild, one of Paris' most elegant musical patrons. The elite of Paris society were there, and Chopin was asked to play. Once again, his success was brilliant, and lessons were requested by many aristocratic ladies, among them time Baronne de Rothschild. Chopin now became one of the most sought after artists of high Parisian society. Princess de Vandemont, Prince Adam Czartoryski, and Count Apponyi all claimed him as their favored protégé. He charged the inflated fee of twenty francs a lesson, even though Kalkbrenner, the reigning prince of piano pedagogy, charged only ten to twelve francs a lesson. This newfound affluence was a great blessing to ChOpin, allowing him security and peace of mind to devote himself to composing in the most congenial circumstances. The Second Scherzo ip.B-flat minor was composed in 2Bernard Gavoty, Frederic ChOpin (N.Y.: Charles Scribner 8 Sons, 1974), p. . 43a 1837, during the period of time that he had established himself as the most reSpected composer and pianist in Paris. The work was dedicated to one of his pupils, Countess Adele de Furstenstein. It wangublished immediately by Schlesinger and a year later by Breitk0pf 8 Hartel. Of all the four Scherzos, this is the only one that ChOpin programmed regularly in his concerts. Alfred Cortot gives a chapter describing ChOpin'S concerts in his book, Ia Search p§_ChOpin. Cortot places the number of ChOpin'S concerts to be only thirty, many of them being only casual appearances in private homes. The B-flat fling; Sphepgg was clearly a favorite of ChOpin, Since it was among the few compositions which ChOpin performed in his rare public appearances. Although ChOpin had been acclaimed as the best pianist in Europe since the time he played at the French Court in the Palace of St. Cloud in 1838, he suffered from a weak physical conditiOn and a morbid anxiety about per- forming in public. He himself gave us an idea of the agony he experienced in the following words: "You can't believe," he wrote, "what a martyrdom it is for me during the three days before I play in public."3 He confided to Liszt: I am not the right person to give concerts. The public intimidates me, I feel asphyxiated by the breath of the peOple in the audience, paralyzed 3Alfred Cortot, la Search pf ChOpin, p. 87. 44 by their curious itares and dumb before that sea of unknown faces. This explains why Chopin did not appear in concert frequently. When the revolution broke out in Paris in April of 1848, ChOpin accepted an invitation from one of his pupils, Jane Wilhelmina Sterling, to visit England. The trip proved to be marred by his deteriorating physical condition. He had suffered a serious bout of illness prior to the trip, and his health only further declined as a result of the trip abroad. He did give a series of con- certs in England, and during this concert tour the B-flat ‘minp; Scherzo was programmed frequently. The first per- formance was at Stafford House at a party given by the Duchess of Sutherland, where Queen Victoria heard him play. Subsequently, two public matinees were given, the latter including a performance of the B-flat,ming; Scherzo. Des- pite his physical weakness, Chopin was reported to have played With even more strength and brilliance at the second matinée than he had at the first. Chopin also gave concerts in Edinburgh, Glasgow and Manchester. Twelve hundred peOple came out for the Manchester concert, where he played the B-flat pipe; Scheng again, indicating that it remained a favorite recital piece, even at this late date. on his return to London, ChOpin finally suffered 4Ibid., p. 88. 45 from the physical demands Of his extensive concertizing. He was bed-ridden for three weeks with a heavy cold, headaches, and bronchitis, with symptoms of pulmonary weakness. DeSpite his extremely poor condition, he left his sickbed to play at a charity concert in Guildhall on November 16 on behalf of the Polish refugees. So strong was his love for his countrymen that it overrode any consideration of personal well-being. Thus did his final appearance symbolize the values which ruled his life, love of music, and love of country. Formal Analysis The Second Scherzo departs greatly from the well- defined formal, tonal and melodic structure of the First Scherzo. We find in this work diverse thematic materials, frequent modulations, and an expanded form. Chopin wove into the scherzo-trio form new elements rather than following a conventional rounded-binary design in each section. It is obvious that ChOpin had no intention of keeping the classical outline. A hybrid form results in the B-flat papa; Scherzo which combines elements of the sonata prin- ciple with that of the composite three-part form. Analyz- ing it as a hybrid form, it has the following diagram: 46 -§§hergo p; Exposition Q9522. Parts ,p&_ transition _§_ section Keys B-flat minor D-flat maj. G-flat maj. D-flat maj. (F minor) A-flat maj. D-flat maj. Measure 1-48, 49-64, 65-117, 117-132-, numbers ‘ Written-out 133-180 181-196, 197-249, 249-264 repeats of (with slight the same variation) sections - Trio Parts ‘ C C' _Q_ _E_ Keys A major, A major C-sharp E major F-sharp minor C-Sharp min. F-sharp min. E major, Measure 265-284, 285-309, 309-333, 334-365. numbers Written- 366-386, 387-412, 412-435, 436-467, out repeats - Development transition Parts .21. 11'. Elena (froml'. Suggesting A) ‘ Keys A minor and G minor E major B-flat mi G-Sharp minor C minor F-sharp maj. but leads to A-flat minor A-flat min. G minor (enharmonic) Measure 468-492, 492-516, 517-543, 544-583, numbers 47 Return of closing‘ Parts .AL transition ,§_ sectiOn Keys B-flat minor D-flat major G-flat maj. D-flat maj. A-flat maj. D-flat maj. Measure . numbers 584-631, 632-647, 648-708, 708-715 Coda Keys . A major, (B-flat minor), D-flat major Measure 716-780 numbers In conforming to the scherzo and trio form, the large B section here is a definite trio which contrasts with the A section in tempo and mood. In addition, the return of A section is almost an exact repetition, fol- lowing the plan of a composite ternary form. Overall, the fast tempo, the triple time signature and the four- bar groupings (with one beat to a bar) are characteristic of a scherzo. However, the structure of the smaller parts departs from the traditional ternary principle. In the A section, there are two distinct themes which are linked by a transition and are followed by a closing section. In the trio, the H: C :":D C dldesign is replaced by th C' D E :H . Elements of sonata form are evident in the design of two of the main sections in this scherzo. The A 48 section fits the scheme of an exposition in its sequence of thematic materials and key choice. The use of the relative major for the second thematic area is a logical key relationship in classical sonata form. Further, thema- tic materials from both the A and B sections are manipulated in the C section to achieve a dramatic climax--para11eling the development section of a sonata form. These composi- tional procedures serve to freely expand the concept of scherzo form. Therefore, it is not inapprOpriate to refer to this work as a fantasia or capriccio as some writers have done. In his book, Chopin aha Composer, Edgar Kelley analyzes the B-flat minor Scherzo under the subject heading "Amplification of the Sonata Principle." He discusses this and other compositions by ChOpin, stressing the "enriching" and "ennobling" qualities which sonata elements impose on some of the less highly deveIOped forms; The section at measures 468-588 is referred to by Kelley as a "working- out" section, as the development of a sonata.5 Arthur Hedley, in his short discussion on the Scherzos of Chopin, mentions also that "the B-flat minor Scherzo is cast in the form of a sonata movement with a trio intermezzo inserted before the "working-out" section. It suited ChOpin very well not to be tied down to any ' 5Edgar Stillman Kelley, ChOpin the Composer (New York: G. Schirmir, 1913), p. 113. 49 strict form, to be free to Shape his course according to the dictates of inspiration and dramatic impulse."6 A different analysis is given by William Robert Hutchinson in his Ph.D. thesis, "Implication, Closure and Interpolated Change as Exemplified in the Works of Frederic ChOpin." The following sketchy outline is given 7 by Hutchinson. (Measure numbers are given here by the present writer for clarification purposes.) A --- B-flat minor (mm. 1-48) B --- D-flat major (mm. 49-132) A --- B-flat minor (mm. 133-180) B --- D-flat major (mm. 181-264) C --- A major (middle section)(mm. 265-583) DevelOpment through C- sharp minor, E major, and moving to B-flat minor A --- B-flat minor (mm. 584-631) B_ --- D-flat major (mm. 632-715) D --- closing (mm. 716-780) Hutchinson adds in his remark that this could be a D-flat major Scherzo rather than B-flat minor if the A section in B-flat minor is treated as introduction and 6 Arthur Hedley, ChOpin (London: Collier Books, 1962), p. 183. ‘ 7William Robert Hutchinson, "Implication, Closure and Interpolated Change as Exemplified in the Works of Frederic Chopin" (Ph.D., Music, Univ. of Chicago, 1960). 50 D-flat major theme as the main theme. The fact that this work ends in D-flat major does support Hutchinson's supposition, however, the B-flat minor theme recurs too many times for it to be considered just as an introduction. Its prominent thematic feature justifies its classification as a primary theme. Melodic Stzugtpze Among the many thematic ideas in the B-flat minor Scherzo, the triplet motive of the Opening theme dis- tinguishes itself as an essential thematic feature. Von Lenz, a pupil of ChOpin, said that Chopin himself referred to the first two triplet motives (figure "a" in example 27) as a question and the corresponding phrase (figure "b") as an answer. The contrast between the two phrases is marked by their dynamic difference as well as the "high" and "low" of the piano register. Example 27. Scherzo in B-flat minor Figure A. mm. 1-4 Figure b. mm. 5-9 Presto ’ 8""”" rm ‘ e The triplet motive poses a mysterious queStion twice. Von Lenz also gave the following comment concerning the interpretation of this triplet motive: "For ChOpin, 51 it was never question enough, never piano enough, never important enough. It must be like a charnel-house."8 Therefore, the antitheses must be exaggerated in performance. The spppp yppp,triplets contrast greatly with the fortissimo chords, which are characterized by the dotted rhythm J, J’J. AS if one statement does not give enough emphasis, this question and answer persists in the three subsequent phrases. In both the written-out repeat section of A and the final returning section of A, the initial B-flat of this opening theme disappears. One could Speculate that the first B- flat is there simply for rhythmical reasons. In the two subsequent recurrences of theme A, Chopin makes two very slight changes so as to avoid a strict repetition. In the repetition of the A section the dotted rhythm of figure "b" is replaced by a quintuplet at measure 147 and a quadruplet at measure 172. At the final return- ing section of A(measures 584-631), the note F at the end of each questioning phrase is held for Six beats instead of a quarter-note followed by five beats of rests. In both of these sections, a two-measure trill on the note Eb is added in order to connect the gap of a third from the end of theme A to the beginning of the transition theme (meas- ures 179-180 and measures 630-631). The transition theme (measures 49-64) is, like the 8 Herbert Weinstock, Cho in: the Man nd H' , (New York. Alfred A. KnOpf, 1949 , p"§33—--——--15.M2§1Q 52 first theme, marked by the dynamic contrast of fortissimo and pianissimo. This thematic material is varied and treated prominently in the coda. The app apipa second theme is one of ChOpin'S most cantabile and breathtaking melodies. The B theme section builds from pianissimo to an exciting fortissimo (measures 65-117), a procedure which is also used in part B of the FirSt Scherzo. It is this theme which Robert Schumann referred to as being "so tender" when he compared ChOpin'S Second Scherzo with a passage from a poem by Lord Byron"...so tender, so bold, as full of love as of scorn."9 The closing section (measures 117-132) is composed of tonic and dominant- seventh arpeggios. In contrast to the First Scherzo where the A section leads directly to the trio without a pause, the A section of the Second Scherzo does come to a conclu- sive ending. This section ends in the relative major key rather than the traditional tonic minor. ChOpin apparently never intended his repetitive passages to be interpreted the same way. Even with exact repetitions, subtle differences must be brought out in performance. This may be safely assumed from the recollec- tion of Chopin's playing by A. J. Hipkins: "ChOpin never played his own compositions twice alike, but varied each according to the mood of the moment, a mood that charmed gFrederick Niecks, The Life Lf 91911.11. V0.1. II (London: Novello and Co., third ed., 1902), p. 257. 53 by its very waywardness."10 In addition, ChOpin'S own markings in the trio theme and repeats clearly confirm this point. The trio theme is a duet for the two upper voices, and the two statements of this theme differ subtly in counterpoint (measures 265-276 and measures 285-297). In the second statement at measure 285, ChOpin adds an accent mark over the first note C# of the alto line to indicate predominence of the alto line over the SOprano. The bass note A in the first A major chord is eliminated at measure 285 which results in parallel fifths between the two lower voices. In the second phrase of this statement, he adds an extra measure (measure 293) in the middle of the phrase. (Compare the two statements given in examples 28 and 29.) Example 28. Scherzo in B-flat minor, mm. 265-276. I . Sostenulo /’ ‘ soltn voce 10Edith J. Hipkins, How Chopin played, p. 52. 54 Example 29. Scherzo in B-flat minor, mm. 285-297. 11.: 1. % The phrasing also differs subtly in repeating section of the trio theme. In measures 366-378, a Single phrase-marking is given to the entire melody instead of two phrase-markings (4+8), while in the following state- ment, measure 395 is ornamented. (Compare the two statements given in examples 30 and 31.) Example 30. Scherzo in B-flat minor, mm. 366-378. J. : : J. 5i aoelenulo 55 Example 31. Scherzo in B-flat minor, mm. 387-400. a_/ . . Theme D, measures 310-322, is based on tonic and dominant harmonies. Its melodic structure breaks down into four individual lines. The alto line consists of repetitions of the same five-note motive. The soprano line is more antabile, while the tenor outlines a triadic contour and the bass line moves in stepwise motion (see the example below). Example 32. Scherzo in B-flat minor, mm. 313-316. SOprano line 56 Example 32 continued. Alto line \ «J Tenoleine —,.1 .L Bass line In theme E, measures 334-365, the real melodic interest is in the bass, while the top line has embel- lished passage-work which sounds like a happy "merry-go" round. In performance, it is customary to resume the original tempo here since the filigreed figuration sounds most convincing in a fast tempo (see example 33,p. 57). 57 Example 33. Scherzo in B-flat minor, mm. 334-341. a L— Themes E, D, and the transition theme (from the A section) are manipulated in long sequential passages to many remote tonal areas. Three sequential phrases developed from Theme E are treated from measures 468- 491. The first phrase, measures 468-475, has an ar- peggiated figuration outlining the leading-tone seventh in the key of A minor. A new bass line appears in the next two phrases while the arpeggiated figuration con- tinues in the keys of G-sharp minor and G minor. In the development of theme D, measures 492-516, the original four-measure soprano line of this theme is superseded by three descending notes, and the bass line is moving in stepwise downward motion instead of upward motion (compare the bass line in example 34, p. 58 with example 32, p. 56). 58 Example 34. Scherzo in B-flat minor, mm. 492-498. qfimw i J . ,‘J/EI‘ > ‘J > \ Following a sequential passage of the transition theme, a second extended development is given to theme D (measures 544-583). Although the writing in this passage shows that the five-note groups and the three descending octaves are one Single melodic line over an harmonic bass, we still hear two distinct lines as shown in example 34. The reason why ChOpin did not make the F at measure 545 (also the D at measure 547, and Bb at measure 549) a dotted half-note could be due to its impracticality in performance (see the example given below). Example 35. Scherzo in B-flat minor, mm. $44-$49. re eon uaco semp f d ’_T\ > 17 59 The app fppgp five-note figure drives through a prolonged climax which finally subsides to emphasize the dominant of the tonic minor key. The same five-note fig- ure is repeated six times from measures 566-583 in gradual diminuendo and calando preparing for the return of the A section. The coda comprises material from theme A and the transition theme (from the A section). The rhythmic sequence or modulating motivem J is derived from the V a , triplet figure of theme A. From measures 732-747, two statements of theme A return. The antitheses disappear and the triplet motive is no longer asking a question but makes three convincing statements. The transition theme appears from measures 716-723 and measures 756-763. The sequential motive J J which first appears at the end of the transition thzme in measure 719 becomes a significant figure in the latter part of the coda (measures 748-771). Tonality.apa Harmonic Structure Whereas ChOpin only employs one change of mode and one other tonal area besides the tonic key in the B-minor Scherzo, he digresses into fifteen other tonal areas besides the tonic key in the B-flat minor Scherzo and only three of them are closely related keys (see the listing of keys given in the diagram on pp. 46 and 47). There are examples of abrupt modulations to distant keys and examples of long chromatic phrases used parti- 60 cularly by Chopin to delay the arrival of the new key. The smooth voice-leading is always observed carefully in whatever means of modulation he uses. This skillful technique together with his sense of beauty for harmonic color stamp his trait of genius. A very abrupt modulation occurs at the beginning of the coda (measure 716) where Chopin changes from the key of D-flat major to the unexpected key of A major--a distant key having enharmonically a chromatic-mediant relationship (see example 36). Example 36. Scherzo in B-flat minor, mm. 714-719. EM: ‘5 .A’ 1 Another example of a sudden modulation is seen at measure 516. As theme D comes to a deceptive cadence in the key of A-flat minor at measure 516, the submediant in second inversion becomes an enharmonic tonic in second inversion in the key of E major--an unexpected new tonality, but enharmonically having a diatonic mediant relationship (see example 37 p. 61). 61 Example 37. Scherzo in B-flat minor, mm. 513-518. v; as E: 13 In the con anima second theme, Chopin employs a borrowed chord to modulate from G-flat major to A-flat major. The harmony at measure 72 is a borrowed ii; in A- flat major. A chromatic modulation occurs in the next phrase where Chopin modulates from A-flat major to the main key of the second theme, D-flat major (observe the smooth bass line in the example given below). Example 38. Scherzo in B-flat minor, mm. 69-83. 1 Al 62 Example 38 continued. ..Ie.‘ .- D»: V, I6 A long chromatic passage, delaying the modulation from the key of B-flat minor to its relative major, is seen in measures 724-732. At each sequence of the modulat- ing motive m J, one or two notes are inflected upward v a semitone until a German sixth chord is reached at measure 731, which then progresses smoothly to a tonic chord in second inversion in the key of D-flat major (see example 39). Example 39. Scherzo in B-flat minor, mm. 724-732. 63 An intricate modulation is given in measures 524- 536, presenting an enharmonic modulation by sequence. At measure 524, the transition theme in E major progresses to an harmonic outline of the leading-tone seventh in the key of F-sharp minor (measures 528-531) which is then followed by a sequential phrase giving an enharmonic lead- ing-tone seventh in the enharmonic key of A-flat minor. At measure 535, an inverted augmented sixth spelling is suggested in the bass (fb -dh) which proceeds to the leading-tone seventh in the key of B-flat minor at measure 536. Thereby, Chopin modulates from E major to B-flat minor by passing through F-Sharp minor and A-flat minor (see example 40). Example 40. Scherzo in B-flat minor, mm. 524-537. Vlidy %fl. bb: Aug.“ 64 The series of strikingly dissonant chords in measures 748-755 was probably offensive to the ears of ChOpin'S contemporaries. The entire passage is based on the motive (U of the transition theme in measure 719. This passage begins and ends in D-flat majOr; but the intervening harmonies--in two-bar segments--are not functional within D-flat. They sound more as if they have fleeting dominant characteristics in B-flat minor, B minor, and C minor (see example 41). Example 41. Scherzo in B-flat minor, mm. 748-755. 8..- .u...- too... ....... >— uretto a The B-flat minor Scherzo, as observed, is complex and ambiguous in its formal and harmonic structure. It is a remarkable composition which has enjoyed more popularity and praise than the other three Scherzos. It was exclaimed by Louis Ehlert that "this composition was composed in a 65 blessed hour!"11 and Huneker declared that "it has a noble tone, is of a noble type."11 Because of its immense pOpularity, it is often over-performed by professional pianists and abused by amateurs who do not devote enough time to its preparation. 'llAshton Jonson,_A_Handbook pp ChOpin'S Works (Heinemann, 1905), p. 190. CHAPTER IV CHOPIN'S SCHERZO NO. 3 IN C-SHARP MINOR, OP. 39 Biographical Faaaa When ChOpin finally settled in Paris in the year 1832, he had the opportunity to make acquaintances with some of the most prestigious musicians and writers in EurOpe. It was also here that the momentous meeting between ChOpin and the notorious novelist, Aurore-Lucile Dupin--known to the world by her pen name of George Sand-- took place. Paradoxically, ChOpin'S initial reaction to her was one of revulsion. His fastidious and conservative nature was repelled by her eccentric, masculine behavior and appearance--She dressed in men's clothes, and smoked cigars excessively. Yet, beneath her masculine appearance lay other qualities--an intense motherly nature, and a high intellect and devotion to art. Gradually, an intimacy develOped between them as George Sand replaced ChOpin'S former love, Maria Wodzinska. The relationship profound- ly influenced the rest of his life and career. When George Sand invited both ChOpin and Liszt to her country estate at Nohant in 1837, ChOpin declined. 66 67 However, in the following year, Chopin joined Sand and her two children in a journey to Majorca in October, 1838. The congenial climate of Majorca was intended to be an idyllic retreat to improve the rheumatic condition of Sand's son and ChOpin'S chronically frail physical condition, but the trip proved to be a disastrous experience for ChOpin, and greatly endangered his health. Even their arrival in Majorca was marred by difficulty in finding suitable lodg- ings. Their first few days were spent in two poorly fur- nished and noisy rooms above a barrel maker's workshop. Finally, they found a house in Establishments near Palma, which also proved to be entirely unsuitable. The damp plaster walls of the house could not sustain wet rain, and the house was never warm. The worst was to come when the travelers had gone out for a long walk one evening on a rough and rocky ground, and encountered a violent wind that totally exhausted ChOpin, leading to a recurrence of acute bronchitis, and violent bouts of coughing, to which Chopin almost succumbed. The local doctors who were called in determined that ChOpin was consumptive. Alarmed by the possible consequences of ChOpin'S condition, their landlord asked them to leave the house immediately, but only after paying for the replastering and whitewashing of the walls to prevent contamination. Fortunately, George Sand dis- covered a deserted monastery in the mountains of Valldemosa that was available to them. ChOpin'S physical condition, at this time, was so debilitated that he was virtually 68 helpless. Even worse, the dread disease was seen as a menace to the villagers who treated the four strangers in a most unfriendly manner. Moreover, there was no news from Paris for quite some time, and the Pleyel piano did not arrive until late January. Even then, ChOpin was forced to pay an exorbitant fee for the customs. Throughout this period of intense physical and emotional strain, ChOpin was tenderly cared for and nursed by George Sand at Valldemosa, and managed to rally enough strength to return to work. Chopin described their eerie surroundings in the following words: You can imagine me, between the rocks and the sea, in a cell in an immense abandoned monastery, with doors bigger than any carriage gate in Paris. Here I am, without curls or white gloves, pale as always. My bedroom, shaped-like a large coffin, has an enormous dusty vault, a small window looking out on orange trees, palms, and cypresses in the garden. Facing the window, beneath a fili- greed rose window in Moorish style, a camp bed. Beside the bed, an old "untouchable," a sort of square desk, uncomfortable for writing, on which there is a candlestick with a candle, On the same desk, Bach and my notebooks. Silence...one could cry out...eagles soar over our heads. In a word, I am writing from a very strange place. This was the environment, then, in which Chopin began writing theC-sharp minor Scherzo, which he des- paired of ever finishing. He wrote to his friend Julian Fontana: "do not Speak to anyone of the Scherzo, I do not know when I shall finish it, for I am still weak and cannot ~ 1Bernard Gavoty, Frederic Chopin, p. 220. 69 write."2 He also managed to finish revising the Preludes and the Polonaise in C-minor, Op. 402 The Preludes nos. 1, 2, 4, and 10 were written in Valldemosa. Finally, in February, 1839, ChOpin and the Sands left Majorca, on route to Nohant, after first traveling through Italy and Genoa, and allowing Chopin to convalesce briefly at Marseilles. This was the composer's very first summer at Nohant, and the environment there seemed to re- juvenate him. Finally the C-sharp £1321 Scherzo was completed, as well as the Funeral Sonata, Op. 35. The year after their return to Paris in October, 1839, ChOpin pub- lished the [alga Scherzo, the Second Ballade, the Second Impromptu, and the Waltz in A-flat, Op. 42. Chopin dedicated the Third Scherzo to his pupil Adolph Gutmann, who had come to Paris from Germany, at age fifteen, to study with him. Gutmann, who was largely built, was called la 222.E§22£ Allemand. When Moscheles came to Paris and visited ChOpin in 1839, ChOpin played for him the Funeral Sonata and the Prelude in A-flat major, but let Gutmann play the more strenuous C-Sharp papa; Scherzo. The Master's art is revealed to us in the following excerpt from Moscheles' writings which give us an insight into the special quality of Chopin's playing as well as his music: ChOpin has just been playing to me, and for the first time I understand his Music. The rubato, 2Ashton Jonson,_a Handbook Ea ChOpin'S Works, p. 212. 70 which with his other interpreters, degenerates into disregard of time, is with him only a charming Originality of manner; the harsh modula- tions which strike me disagreeably when I am playing his compositions no longer Shocked me, because he glides over them in a fairy-like way with his delicate fingers; his piano is so soft that he does not need any strong forte to produce his contrasts, and for this reason one does not miss the orchestral effects which the German School requires from a pianoforte player, but allow one's self to be carried away as by a Singer, who, unconcerned about the accompaniment, entirely follows his emotions. (Moscheles, Diaries, Leipzig, 1872)3 - One year later, in April 26, 1841, Chopin gave a concert at the Salle Pleyel in which he performed only his most recent compositions. Included on the program was the Third Scherzo, indicating that he must have rallied his strength to play the demanding Scherzo. ChOpin'S profound effect on the audience is described in this segment of a review of the concert: One can say that Chopin is the creator of a school of pianists and a school of composers. Nothing equals the lightness, the delicacy, with which this artist touches the keys. His composi- tions, so full of originality, of distinction, of grace--are unparalleled. ChOpin is unmatched as a pianist and muit not, indeed cannot, be com- pared to any other. Formal Structure In his third Scherzo, ChOpin again frees the 3 . . . Edith J. Hlpklns How ChOpin Played London: J. M. Dent and Sons), p. 12. ( 4Alfred Cortot, la_Search p£_ChOpin, p. 132. 71 Scherzo from the classical mold. New dimensions are added, and the tripartite design is expanded to a sec- tional four-part form: A B A B--a well-balanced formal structure. The work has the following outline: Introduction mm. 1-24 Scherzo Parts A B A Keys C# minor C# minor C# minor Measure 25-56 57-105 106-154 numbers Trio Parts C C D C transition Keys Db major Db major Ab major Db major Measure 155-199 200-242 243-286 287-319 320-366 numbers Scherzo Parts A B Keys C# minor C# minor Measure 367-398 399-447 numbers 72 II rio dea 'mm. 573-649 Parts C C' C" Keys E major E minor C# major Measure 448-493 494-540 541-572 numbers Although the repeat of the trio section had been used by Beethoven in his Fourth and Seventh Symphonies, ChOpin'S structure in this Scherzo is unique. The 23.9E22 of ChOpin's Scherzo is Shortened and the second trio is not followed by another return of the scherzo section. Further, instead of a strict repetition of the trio as seen in Beethoven's examples, ChOpin'S second trio is varied and beautifully transformed. In regard to the phrase structure of the C-sharp minor Scherzo, Huneker points out: "The work is clear- cut and of exact balance. ChOpin founded whole paragraphs either on a single phrase repeated in similar shapes or on two phrases in alternation--a primitive practice in Polish folksong."5 The groups of four quarter notes to a bar instead of three in the introduction is rhythmically ambiguous. These quiet quadruplets are met at the tOp by three power- ful chords, illustrating the fierce contrast of dynamics SJames Huneker, "Historical and Analytical Com- ments," preface in Sphezgps and Eangaisie, ed. by Carl Mikuli. 73 as well as texture and register which is a distinctive element in Chopin's Scherzos; De Lenz remarks that ChOpin dedicated this work to Gutmann because this giant "could knock a hole in the table with these chords."6 The structure of the theme-group A is well balanced, and consists of two similar statements of the main theme. Theme A is stated energetically with double octaves which outline a C-sharp minor descending scale (see example 42). Example 42. Scherzo in C-sharp minor, mm. 25-33. mutate 20m > If The playfulness, lightheartness, and persistent staccato quarter-notes of the B theme-group, mm. 57-106, are characteristic elements seen in Beethoven's scherzos. The structure of the phrases in this thematic group is also well-balanced; the second phrase (measures 67-74) is parallel to the first phrase; and the fourth phrase (measures 83-90) is a tranSposition of the third phrase (measures 75-82). The return of theme-group A at measure 107 is extended and leads into the B section. The 74 first phrase of the trio is introduced at measure 154 by its retrograde version in diminuation in the left-hand figure (see example 45). Example 43. Scherzo in C-Sharp minor, mm. 152-159. Menu mono 11 ‘\ mu. ~ > > This chorale-like section is not considered a trio by many authors, Gerald Abraham states, "the Scherzo Op. 39 diSpenses entirely with a trio, the middle section con- sisting first of passage-work, then of a variation of the chordal second subject with its delicious showers of leggierissimo quavers."7 In this section, the old trio form of a duet between the two upper voices seen in the other three Scherzos is replaced by a chorale-like setting of a familiar tune. It is indeed a rather unusual trio, but its change of mode and distinct contrast from the A section still justify its designation as such. The chorale setting was undoubtedly inspired by the still and isolated surroundings of the monastery at Valldemosa where ChOpin started the work. Also, the 7 .Gerald Abraham Cho in's Musical Style (London: Oxford University Press: 194%), p. 53. 75 studying and editing of the Bach's volumes that he brought with him to Majorca could well have been a stimulation. And though the "religious? setting is only make-believe, ChOpin adds to the theme romantic flair and impression- istic effect. At the pause of each chorale phrase, he embellishes it with falling cascades of notes and the effect of the pedal indication is quite impressionistic, which Ashton Jonson describes poetically as "the lovely laughter of the wind-swept wheat."8 Unlike the trio of the other three Scherzos where it stays in the middle of the piano register, this section in the C-sharp Scherzo uses the two extreme Opposition of the piano compass (see example 44). Example 44. Scherzo in C-sharp minor, mm. 155-162. Mono mono A P leggierissimo sextonuto This familiar tune which ChOpin uses in a chorale setting is in no way original. It has been used by many composers in various contexts. The first two phrases of the tune are seen at the beginning of the Larghetto move- ment of Beethoven's Second Symphony, appearing originally 8Jonson,.A__Handbook pp_ChOpin's Works, p. 214. 76 in the first violin part, and imitated by the winds four measures later.(see example 45). Example 45. Beethoven's Second Symphony, 2nd mvt., mm. 1-4. A Violin I Each phrase in the B section of Chopin's work is Similar in construction-~a chorale phrase followed by descending eight-note patterns. The four phrases of the chorale are repeated at an octave higher from measures 200-243. "D" material, mm. 243-286, which precedes the third stanza comprises dominant-seventh arpeggiated figura- tion in the keys of A-flat major, G-flat major and D-flat major, while melodic interest is heard in the tOp notes. The third repetition of chorale stanza returns to the original register. A prolonged retransition brings to an impressive return of the large A section--part A, measures 367-398 and part B, measures 399-447. Thereby, the return of the A section is in a binary design and not ternary. The second B section returns from measures 448- 572 with develOpments of the chorale theme. The first stanza is stated in E major which digresses into a.21§ lpppp, varied statement of the theme in E minor. It is a transcendental moment when this theme comes to a 77 peroration in C-Sharp major over aadgminant bass pedal (measures 542-572). The theme is no longer set in chorale style but is tranSformed into a long continuous phrase of twenty-five measures, which rises to a precipitous group of octaves leading to the impetuous coda. The symmetrical structure is also evident in the coda which divides into two main parallel parts (measures 573-604 and measures 605-636), concluded by final double octaves (measures 637-649) reminiscent of the main octave theme. This coda should be played at an extremely fast tempoL while the final octaves marked stretpo are to be played even faster. Alternating between the reiterated C-sharp octaves are descending chromatic octaves which bring the piece to a close in C-sharp major--a picardy third. Among the codas in Chopin's four Scherzos, this coda is the most impressive and technically demanding for pianists. Melodic Structure While the B-flat minor Scherzo is distinguished by many diverse thematic ideas, the C-sharp minor Scherzo is dominated by two very prominent main themes--the vigor- ous octave theme in the A section and the chorale-like theme in the B section. In breaking down the melodic structure, we find melodic patterns based on two-note and three-note groups. Both A and B theme-groups are built on groups of_thtee1- '\ ~_’ quarter notes in stepwise motion (See examples 46 and 42;» 78), 78 Example 46. Scherzo in C-sharp minor, mm. 25-40 Theme-group A Example 47. Scherzo in C-sharp minor, mm. 59-82. Theme-group B 79 The right-hand line in the first two phrases of the theme-group B is a sustained duet. The soprano line moves closely around the same two notes, while the alto line has a wider range of melodic contour (see the alto line given in example 48). This section builds from the dynamic level of piano to a climactic fortissimo--a construction so typically manifested in the A section's second theme, also seen in the first two Scherzos. The staccato quarter- note movement transfers from the bass to the alto and tenor in measures 75-90. While the excitement is further increased by the doubling of the bass line in measures 91-98. Example 48. Scherzo in C-sharp minor, mm. 59-66. Melodic pattern of two-note groups are found in the tinkling t0p notes of the descending eighth-notes at the end of each chorale phrase. These two-note groups result in a rhythmical stress of a; hemiola effect (see example 49 be- low). Example 49. Scherzo in C-sha minor, mm. 296-303. 80 In the last chorale stanza of the B section. measures 312-319; the eighth-note pattern is shortened in both hands, aS' compared with previous similar passages. Example 50. Scherzo in C-sharp minor, mm. 312-319. m . - U The reason for ChOpin'S modified version, as ex- plained by the Editorial Committee of the Polish edition, is due to the fact that the pianos at ChOpin'S time had not included Gbi