A STUDY OF CHOPIN'S PIANO SONATA

NO. 3 IN B MINOR, OP. 58, WITH

SUGGESTIONS FOR PERFORMANCE
D.M.A. Document
Presented in Partial Fulfillment of the Requirements
for the Degree Doctor of Musical Arts in the
Graduate School of The Ohio State University
By
Janida Dhuvabhark, B.A., M.M.

******
The Ohio State University
1992
Document Committee:

Approved by

Rosemary Platt, D.M.A., Adviser

Jerry Lowder, D.M.E., Co-Adviser
Donald Gren, D.M.A.

Adviser

n[-~
Co-Adviser
School of Music

To My Parents

I I

ACKNOWLEDGMENTS

I express appreciation to Dr. Jerry E. Lowder for his helpful

advice, patience, and encouragement throughout the preparation of this document. His time and valuable recommendations are
greatly appreciated. I also wish to express my gratitude to Dr.
Rosemary Platt, for her guidance and support during my study in
the United States. I am grateful to my present piano teacher, Dr.
Donald Gren, for his helpful contributions to my piano playing.
Deep gratitude is also expressed to my former piano teacher,
Andre Laplante, for his outstanding teaching and inspiration. To
Dr. Lora Gingerich is extended my thanks for her music theory
classes during my first year at the Ohio State University.
Finally, I would like to thank my grandparents, my parents,
my sister, and my brother for their love, understanding, and
encouragement. Without them, I would not have come this far.

I II

VITA

July 13, 1962 .................................... Born- Bangkok, Thailand

1984...................................................... B.A. in Music Education,

Chulalongkorn University,
Bangkok, Thailand

1988..................................................... M.M. in Piano Performance

The Ohio State University,
Columbus, Ohio

IV

FIELDS OF STUDY

Major Field: Music

Studies in Piano Performance

Dr. Rosemary Platt,

Prof. Andre Laplante,
Dr. Donald Gren

Studies in Piano Literature

Dr. Donald Gren

Studies in Piano Pedagogy

Dr. Jerry Lowder

Studies in Music Theory

Dr. Lora Gingerich

H E

OHIO

5IATE

UNIVERSITY

College of the Arts

School of Music

GRADUATE STUDENT RECITAL SERIES

SUNDAY, FEBRUARY 26, 1989

8100 P.H.

WElGEL HALL AUDlIORlUM

J A N I D A D H U V A B H A R K,

P I A N0

This re.citat is pre.se1ted i1 part iai fulfillment fo1 the

de.gree Doctor of Mus ica i Arts for Ms. Dliuvab11ark.

PROGRAM
Sonata ln B-flat, Longo 99

D. Scarlatt l

Sonata ln D, Longo 463

Sonata ln G, Longo 103
Sonata ln D, Longo l4
Sonata ln F, Opus 10, No. 2

L. V. Beethoven .

Ai iegro
AHegretto
Presto
"t\begg" Varlatlon, Opus l

R. Schumann

T E RHI S S l 0 N

Fantasle-lmpromptu ln C-sharp mlnor, Opus 66

Three Preludes

F. Chopln

c.

La Cathedrale engloutie, Book I

La fiHe au:c c11eveux de tin, Book I
Feux d'artifice, Book II

VI

Debussy

~
UNIVERSITY

College of llie Arts

School of Music

GRADUATE STUDENT RECITAL SERIES

Thursday, March 8, 1990

4:00P.M.
Weigel Hall Auditorium

JANIDA DHUVABHARK, Piano

MING SHAN KONG, Piauo

This recital is presented ill partial fulfillment fur Ille degree

Doctor of Musical Aris for Ms. Dl1uvabhark.

PROGRAM

Concerto In A major, K. 488

W.A. Mozart

Allegro
A11da11le
Presto

INTERMISSION

Sonata No. 3 In B minor, Op. 58

F.Chopin

Allegro maesloso
Sc11erzo: Mollo vivace
Largo
Finale: Presto, t1011 lanlo; Agilato

VII

College of the Arts

School of Music

GRADUATE STUDENT RECITAL SERIES

Thursday, May 23, 199 l
4:00 p.m.
Weigel Hall Auditorium

JANIDA DHUV ADHARK,piano

Guest Artists
Wei-Ming Hwang, violin
John Eitzen, cello
This recital is i11 partial fuljillmem for the degree
Doctor of Musical Arts/or Ms. Dhuvabhark

PROGRAM
Sonata No.5 in F, Op.24 ("Spring") .......................... Ludwig van Beethoven

Allegro
Adagio molto espressivo
Scherzo-Allegro molto
Ro11do-Allegro ma 11011 iroppo

(1770-1827)

Sonata in D, Op.94 .......................................... Serge Prokofieff

Moderato
Presto
A11da11te
Allegro co11 brio

(1891-1953)

Dorimme ra...senger,jlute
lnten11lssiu11

Trio No. l in Eb, Op. l, No. l ............................... Ludwig van Beethoven

Allegro
Adagio
Scherzo-Allegro assai
Fillllle-Presto

(I 770-1827)

viii

College of the Arts

School of Music

GRADUATE STUDENT RECITAL SERIES

UNIVERSITY

Wednesday, May 20, 1992

3:00p.m.
Weigel Hall Auditorium

Janida Dltuvabltark, piano

This recital is in partial fufji/lment of tire degree
Doctor of Musical Arts for Ms. Dhuvabliark

Program
Sonata No.59 in Eb, Hob.XVJ/49 ............................ Franz Joseph Haydn

Allegro
Adagio cantabile
Finale. Tempo di Minuet

(1732-1809)

Sonata in F minor, op.2, no.1 ............................. Ludwig van Beethoven

Allegro
Adagio
Me11uetto. Allegretto
Prestissimo

(1770-1827)

bttermission
Nocturne No.l in Bb minor, op.9, no.I ............................ Frederic Chopin
(1810-1849)

Etude, op.2, no. I ......................................... Alexander Scriabin

Preludes, op.11, No.5, 12, 2, 9, 6
(1872-1915)

Suite, op.14 .................................................... Bela Bart6k

Allegretto
Scl1erzo
Allegro mo/to
Soste1mto

(1881-1945)

ix

TABLE OF CONTENTS

Page
ACKNOWLEDGEMENTS .......................................................... i i i
\llTA.................................................................................

I \I

FIELDS OF STUDY............................................................

\I

RECITAL PROGRAMS.........................................................

"'

LIST OF TABLES .................................................................. xii

LIST OF EXAMPLES ............................................................... xiii
CHAPTER
I.

INTRODUCTION.........................................................

PURPOSE..................................................................................

BACKGROUND.......................................................................... 3
THE COMPC>SER.......................................................................... 9
CHOPIN'S COMPOSITIONAL STYLES ................................. 1 3
11

RELATED LITERATURE................................................ 2 0

111.

ANALYSIS ..................................................................... 30

First Movement: Allegro ma estoso................................. 3 5

Second Movement Scherzo and Trio.............................. 49
Third Movement Largo........................................................ 5 4
x

Finale: Presto, non Tanto... .... .... ... ........ .. ..... .... ... .... .... .. .. ... . 5 9

IV.

CONCLUSION.................................................................. 7 2

BIBLIOGRAPHY....................................................................... 7 5

BOOKS....................................................................................................... 7 5
PERIODICALS AND JOURNALS............................................................. 78
UNPUBLISHED WORKS.............................................................................79
MUSIC sc;QRES...........................................................................................7 9
DISCcx:iRAPl--IY............................................................................................8 0

XI

LIST OF TABLES

PAGE

TABLE

1.

Form of First Movement. ........................................................................37

2.

Form of Second Movement. ....................................................................50

3.

Form of Third Movement. ...................................................................... 57

4.

Form of Fourth Movement. ..................................................................... 60

X 11

LIST OF EXAMPLES
EXAMPLE

PAGE

1.

Mvt. 1, mm. 1-4..............................................................................

31

2.

Mvt 4, mm. 9-1 2... ... .......... ......... .. .......... ............. ......... .... ......... ...

31

3.

Mvt. 1 , mm.4 1-4 6, 2nd theme, Motive A, B.. ... .. .. . .. . . .. ... .. ..

32

4.

Mvt.1, mm. 41-44, 2nd theme, Motive(.............................

33

5.

Mvt 4, mm. 9-12...........................................................................

33

6.

Mvt. 1, m. 29....................................................................................

38

7.

Mvt 1, mm. 23-24.........................................................................

39

8.

Mvt 1 , mm. 43-44.........................................................................

41

9.

Mvt 1, mm. 52-56.........................................................................

42

10.

Mvt 1, mm. 57-58 ............................................................................. 42

11.

Mvt 1, mm. 66-71 ............................................................................. 43

12.

Mvt. 1, mm. 72-75 Bridge passage........................................

44

13.

Mvt 1, rnm. 76-84.........................................................................

45

14.

Mvt 1, mm. 84-89.........................................................................

45

15.

Mvt 1, mm. 35-37..........................................................................

46

16.

Mvt.1,mm.146-147 ...................................................................

47

x 111

17.

Mvt. 1, mrn. 1 5 1-1 5 4.. ... ..... .. ..... .. .... ...... .... .... .. ... .... .. .... ..... ... .... ...

47

18.

Mvt. 1, mm. 131 ..............................................................................

48

19.

Mvt. 2, mm. 1-5. Scherzo section..........................................

50

20.

Mvt. 2, mm. 61 -70. Trio section............................................

51

21.

Mvt 2, mm. 48- 60......................................................................

51

22.

Mvt 2, mm. 61-80. .....................................................................

52

23.

Mvt. 3, mm. 15-16............................................................................. 55

24.

Mvt. 3, mm. 1-4. Introduction ............................................ :....

56

25.

Mvt. 3, mm. 5-8. Section A......................................................

56

26.

Mvt. 3, mm. 29-32. Section B..................................................

56

27.

Mvt..3,mm.99-102 ......................................................................

57

28.

Mvt. 4, mm. 1-8. Introduction ...................................................... 61

29.

Mvt. 4, mm. 9-1 3. First theme.................................................

61

30.

Mvt. 4, mm. 28-35.........................................................................

62

31.

Mvt 4, mm. 52-58.........................................................................

63

32.

Mvt. 4, mm. 76-80..................................................................

64

33.

Mvt. 4, mm. 96-99, Transition..........................................

65

34.

Mvt. 4, rnm. 100-104................................................................

65

35.

Mvt. 4, mm. 119-122...................................................................

66

36.

Mvt. 4, mm. 143-146..................................................................

66

XIV

3 7.

Mvt. 4, mm. 1 67 -1 7 0.. .... ... ... .. .... ... .... ...... .. .... .... .. ................. .. ....

66

38.

Mvt. 4, mm. 183-191...................................................................

67

39.

Mvt. 4, mm. 207 -21 0.......................................................

67

40.

Mvt. 4, mm. 226-229......... ......................................................

68

41.

Mvt. 4, mm. 254-255. Coda ......................................................

68

42.

Mvt. 4, mm. 279-286 ...................................................................... 69

xv

CHAPTER I
INTRODUCTION

As a teacher, Chopin (1810-1849) was strict, unusual,

encouraging, and at times inspiring. As an inventor of musical
shapes and technical design, he seems limitless. He realized that the
pianoforte was capable of beautiful sounds. As he says at the
beginning of his treatise:

Music is the expression of thoughts through sounds, the

revelation of emotions by means of these sounds. The
undefined human voice is an undefined sound; undefined
speech is music. The word was born of the sound; the
sound had existed before the word. The word, in a sense,
is a variation on the sound. Sounds are used to create
music, just as words are used to create language. 1
Among composers of the Romantic period, Chopin has always
been one of my favorites. After playing Chopin's sonata no. 3 for my
recital in Winter, 1990, I was inspired to research the piece.
Chopin's mastery of miniature forms is generally acknowledged by
music scholars. In the nineteenth century, the popularity of his
smaller works such as preludes, nocturnes, etudes, and mazurkas
almost overshadowed that of the larger works.
1

2
Hadow criticizes Chopin's abilities to write m large forms:

His limitations are plain and unmistakable. For the larger

types of the art, for the broad architectonic laws of
structure on which they are based, he exhibited an
almost total disregard. His works in "Sonata form," and
in the forms cognate to the sonata, are, with no
exception, the failures of a genius that has altogether
overstepped its bounds.2

It has been in the past few decades that Chopin's compositions in large form have begun to be appreciated. Walker discusses
some features of Chopin's form which were formerly considered
weaknesses:

One of Chopin's chief contributions to the history of

sonata form, and one which has been widely
misunderstood, is the intense compression of his
recapitulations ... Another notable feature of Chopin's
large scale structures, and one which is likewise
misunderstood, is that they often reserve their most
extreme, tension-raising contrast until the end ..... 3

Today the popularity of performing Chopin's large works seems

to be increasing. The sonata in B minor is long and difficult. It
takes a tremendous degree of hard work in order to perform not only

3
with virtuosity but also to project aspects of musical style such as
colorful harmonic progressions, touching melodies, or striking
pianistic effects often used by Chopin.

Purpose of the Study

The purpose of this document is to provide a general study of

the B minor sonata, including a structural analysis and elements of
the music as well as a discussion of performance problems. Because
there is limited information on this work,

I will provide my own

analysis and discussion of the sonata. It is hoped that this study

will provide recommendations and insights for other pianists and
pedagogues.

Background

In Chopin's solo piano compositions the traditional sonata

form does not occupy a prominent position. Finck defends Chopin's
use of sonata form:

The psychology of the sonata form is false. Men and

women do. not feel happy for ten minutes as in the
opening allegro of a sonata, then melancholy for another
ten minutes, as in the following adagio, then frisky, as 1n
the scherzo, and finally, fiery and impetuous for ten

minutes as in the finale. The movements of our minds are

seldom so systematic as this. Sad and happy thoughts and
moods chase one another incessantly and irregularly, as
they do in the compositions of Chopin, which, therefore,
are much truer echoes of our modern romantic feelings
than the stiff and formal classical sonatas. And thus it
is, that Chopin's habitual neglect of the sonata form,
instead of being a defect, reveals his rare artistic
subtlety and grandeur.4

He wrote three piano sonatas which span almost his entire

career. The first, Sonata in C minor, Op. 4, was written in 1828
when he was 18, under the supervision of his teacher, Josef Elsner.
It is dedicated to Elsner and is rarely played. Chopin admitted that
it was an immature early work and was furious when it was
published in 1839 by a Viennese publisher. It was written in the
same period as the Fantasy on a Polish Air, Op. 13 (1828), the
Variations on "La ci darem la mano," Op. 2 (1828), and Krakowiak,
Op.14 (1828).s
The second sonata in B flat minor, Op.35, was written in 1839
when Chopin was 29. It contains the "Marche funebre" (third movement) that is one of the most familiar of all musical selections
throughout the world. Chopin wrote to a friend at the time " I am

5
writing a sonata in B-flat minor, in which you will find the funeral
march that you already know." 6 It was a clear indication that the
famous movement had been written sometime before the rest of the
work. The sonata was published in 1840 by Breitkopf & Hartel, and it
is the most distinctive of the three sonatas. Robert Schumann, music
critic as well as composer,

considered the title of sonata

inappropriate: "The idea of calling it a sonata is a caprice, if not a

jest, for he has simply bound together four of his most reckless
children; thus under his name smuggling them into a place into which
they could not else have penetrated." 7 Other works of this mature
period (1831-1840) include the Ballades in G minor, Op. 23 (1836)
and F, Op. 38 (1838), the Fantasie-lmpromptu, Op. 66 ( 1834), the
Etudes, Op. 25 and Trois Nouvelles Etudes (1835-40), the Preludes,
Op. 28 ( 1838-39) and Scherzos in B minor, Op. 20, B-flat minor,
Op. 31 ( 183 7) and C-sharp minor, Op. 39 ( 1838-39). 8
The third sonata in B minor, Op. 58, was composed during the
summer of 1844 at Nohant five years before his death. It was the
only work he produced during the same year of his father's death and
was one of the compositions of his last and greatest period ( 1841 1849), including the F minor Fantasie, Op. 49, the A-flat Ballade, Op.
47, and the F minor Ballade, Op. 52, the Polonaises, Op. 44 and Op. 53

6
and the Polonaise Fantasie, Op. 61, Nocturnes Op. 48, Op. 55, Op. 62,
and the Mazurkas, Op. 50, no. 3, and Op. 56, no. 3.
Chopin dedicated the B minor sonata to one of his pupils and
friends, the Countess E. de Perthuis, who was the wife of an aide-de
camp to King Louise-Philippe, the man to whom he had dedicated the
Mazurkas, Op. 24. 9 Although it was published in June, 1845, by
Breitkopf & Hartel and somewhat earlier by J. Meissonier (Paris) and
Wessel (London) the year after it was written, 10 it was not played
often in public probably owing to its immense technical difficulties.
In his own public performances, Chopin limited himself to Mazurkas,
Preludes, the Barcarolle, and similar pieces due to his failing
strength, as well as to his intimate manner of playing. Chopin's
physique and temperament were not designed for

a virtuoso career.

As he told Liszt, "I am not fitted to give concerts. The crowd

intimidates me; I feel asphyxiated by its breath, paralyzed by its
curious looks, dumb before the strange faces .... " 11
Musicologists and critics who compared the B minor sonata,
with classical examples of the sonata form took very small views of
its unusual structure. 12 Karasowski wrote that "the composer
seems to have found it difficult to keep the profusion of thought
within due proportions." 1 3

The sonata contains four movements which are arranged in the

same manner as op. 35: Allegro, Scherzo, Largo, and Presto. Unlike
others, the movements show few breaks with traditional arrangement of Fast- Slow- Fast. Both the B-flat minor sonata and B minor
sonata were revolutionary in their application of classical concepts
of structure, motivic development, and counterpoint to the unique
Romantic idiom. There is structural unity in the work, a unity which
Walker calls " all the more remarkable at this stage in musical
history. The revolution effected by Beethoven and the early
Romantics had pushed back the frontiers of musical language so far
that major problems of structural integration arose." 14

The first movement, Allegro maestoso, contains thematic and

harmonic invention. The form is unconventional in that the
recapitulation omits the first subject completely. The opening
theme, according to d'lndy's analysis in his Cours de Composition
Musicale " ... has the stamp of true nobility." 15 Huneker suggests
that the ending is not that of a sonata but a love lyric. 16

In the second movement, Scherzo and Trio (marked Scherzo

molto vivace), as in the B-flat minor sonata, Chopin placed the

8
scherzo in the second movement rather than the third, creating
greater contrast and structural tension. Perahia believes that the
rhythm is the main unifying idea between the scherzo and trio
sections. 17

The third movement, marked Largo, is in ABA form. It relates

to nocturnes in style and is somewhat Italian in character. It
contains one of Chopin's most beautiful melodies, and "the central
section has all the caressing grace of the author's best works. " 18

The Finale, marked Presto, non tanto, is a rondo-like movement

and is difficult to play. Many commentators say that this is one of
the most effective works among large-scale masterpieces.
Weinstock writes: " Nothing else in the corpus of Chopin's work, the
F minor Fantasie alone excepted, is so uninterruptedly, waxingly and
unmistakably great music as the finale. " 1 9

9
The Composer

According to Heine, "Chopin is the great inspired tone-poet

who properly should be named only with Mozart, Beethoven and
Rossini." 2 0
Chopin the composer has been discussed, admired, adored, and
exploited in many ways. Liszt was among the first biographers who
wrote about the position Chopin deserved to take among the world's
great composers. Liszt states that: "If it were our intention to
discuss the development of piano music in the language of the
schools, we should dissect his magnificent pages, which afford so
rich a field for scientific observation." 21 Anton Rubinstein, one of
the greatest pianists at that time, wrote

The pianoforte Bard, the pianoforte rhapsodist, the

pianoforte mind, the pianoforte soul is Chopin. Whether
the spirit of this instrument breathed upon him, or he
wrote upon it- how he wrote for it, I do not know, but
only an entire going over of one into the other could call
such composition into life. Tragic, romantic, lyric,
heroic, dramatic, fantastic, soulful, sweet, dreamy,
brilliant, grand, simple, all possible expressions are
found in his compositions, and are sung by him upon this
instrument in perfect beauty. 22

10
Fryderyk Franciszek Chopin (Frederic Francois) was born m
Zelazowa Wola, Poland, on March 1, 1810, and died in Paris on
October 17, 1849.2 3 He was the son of a French father, Nicolas Chopin
(1771-1844) and a Polish mother, Teklajustyna Krzyzanowska
(b.1 782). He spent his early life in Warsaw where he studied with
Adalbert Zywny (1756-1842) who imposed upon Chopin the
discipline of Bach and the works of Viennese Classical composers.
At the Warsaw Conservatory he studied with Jozef Elsner (17691854) who became his master in harmony and counterpoint.
From an early age Chopin's talents were popular in the leading
Polish aristocracy. He made successful public appearances not only
in Warsaw but also in Vienna. He continued his reputation when he
moved to Paris in 1831. However, an image of his homeland, its
national rhythm, dances, and passion, were always reflected in his
music.
Chopin made a comfortable living from teaching and from
selling his music to publishers. He enjoyed the friendship of some of
Europe's leading composers such as Kalkbrenner, Cherubini, Rossini,
Bellini, Berlioz, Schumann, Mendelssohn, Liszt, and Hiller. He was
also acquainted with Musset, Heine, Delacroix and Mickiewicz.

11

Among the brilliant society women with whom he shared friendships

were Princess Belgiojoso and the Countess Delfina Potocka. The
success of his concerts in Paris firmly established his outstanding
position. Even in England Chopin's reputation was recognized. A
review from the Musical World pays tribute to his position:

It is impossible to deny that he occupies a foremost

place among the piano-forte composers of the present
day... ln Paris... his admirers regard him as a species of
musical wordworth, in as much as he scorns popularity
and writes entirely up to his own standard of
excellence ... The Parisians regard him as a demigod. 24

After the break in 1837 with Maria Wodzinska, a Polish girl of

an important family, Chopin found himself increasingly involved
with the novelist, George Sand (Aurore Dudevant). Their ten-year
relationship created productive years for Chopin. The sonata in B
minor was composed in this period ( 1 844 ). After ending the
relationship in 1847, partly due to family intrigues involving George
Sand's children, he composed little more. His health declined rapidly
and he lost his interest in composition. The last year he accepted an
invitation to England from his wealthy Scottish pupil, Jane Stirling.
He died later in Paris on October 17, 1849.

12
Chopin's legendary reputation as a performer and improviser
was based on his appearances in fashionable society drawing-rooms.
Unlike most composer pianists of the time, he disliked public
concerts. As a composer, he always found difficulty in transcribing
his thoughts. As his contemporary, Karl Filtsch writes in a letter of
1842:

The other day I heard Chopin inprovise at George Sand's

house. It is marvellous to hear Chopin compose in this
way: his inspiration is so immediate and complete that
he plays without hesitation as if it could not be
otherwise. But when it comes to writing it down, and
recapturing the original thought in all its detail, he
spends days of nervous strain and almost terrible
despair. 25
His compositions were written primarily for the piano. He
drew much of his inspiration directly from its sonorities,
translating them into idiomatic languages culled from symphonic
and operatic literature. In the early nineteenth century, Italian opera
played a part in Chopin's musical ideas. He also admired Bach and
Mozart, but lacked appreciation for Beethoven. John Field, the Irish
musician, speaks of Chopin's ability as "a sick-room talent ." 26 It is
assumed that Field's compositions influenced Chopin,

but Chopin's

lyrical gift is noticeable in his compositions before he had knew of

13
Field.
Although Chopin has frequently been criticized for a weak
sense of form, he made a strong contribution to pianistic style
through his lyrical, flowing melodies, the delicacy of his touch,
dynamic shading, and pedalling. Chopin's influence was immense on
several different levels. Liszt and Wagner owe much to Chopin's
chromatic harmonies. He also influenced Brahms and other late
Romantic composers. In the early twentieth century,

Rachmaninov,

Scriabin, Faure, and Debussy are also indebted to Chopin's keyboard

inventiveness.

Chopin's

Compositional

Styles

Gerald Abraham divides Chopin's development as a composer

into three main periods:
First period: The evolution of musical personality (1822-1831)
Second period: The mature style (1831-1840)
Third period: The last phase (1841-1849)
The first period consists of immature works written between
1822 and before his arrival in Paris in September, 1831, including
the Variation on " La ci darem la mano," the Krakowiak, and the
Sonata in C minor. The two piano concerti (F minor and E minor), the

14
Opus 10 Etudes, and Grand Polonaise, Op. 22, are considered to be
the most significant "border-line" works written during the
transition period from 1829 to 1831. According to Schonberg,
Chopin's genius evidently appeared even in the early period:

... Up to his arrival in Paris he had been exposed to very

few of the new concepts sweeping Europe. From John
Field he had absorbed a few things, and also from
Hummel. But his style and his harmonic structure, his
way of treating the instrument, his use of functional
ornamentation (unlike so much of the music of Liszt and
other virtuoso, nearly all of Chopin's bravura passages ...
and all, in his maturity ... have a melodic rather than a
purely bravura function,) his amazing harmonies and
modulations, the piquancy of his rubato, his use of folk
elements in the mazurkas and polonaises ... all these he
had developed on his own by the time he was twenty-one.
He was one of the fantastic geniuses in history. 27

In tracing the development of Chopin's style, it is important to

keep in mind the various purposes for the compositions Chopin wrote
in his roles as pianist, teacher, and composer. Chopin's career as a
concert pianist began in 1828 and was firmly established by the
time he settled in Paris (1831 ). It was for these concerts that he
wrote two concerti and other music for piano and orchestra. After
1835 there were very few concerts. He spent most of his time in
teaching. The smaller, easier pieces such as Nocturnes, Waltzes,

15
Mazurkas, and Preludes, were frequently written for his pupils and
often dedicated to them. These are generally moderately difficult,
but make the most of an amateur's technical capacity both in the
brilliance of rapid finger passages and in the sentimental
expression. 28 These pieces were composed throughout his lifetime
and provide an interesting study of Chopin's development in
miniature form. His income was sufficient to allow him to devote
his time to playing and composing for his own satisfaction and for a
few intimate friends.
The mature period (1831-1840) includes two Ballades, the Op.
25 Etudes, the Preludes, Op. 28, the first three Scherzi, and the
Sonata in B flat minor, Op. 3 5. According to Abraham, the dividing
line between the second and the third period is much less clearly
defined and less easy to justify:

Nevertheless, while many of the third period compositions

are hardly distinguishable from those of the second
period ... in his last nine years Chopin produced a number of
works more powerfully conceived, more organically
constructed (at the risk of being misunderstood, I am
tempted to say 'more symphonic') than any he had
written before ... 2 9

16
The third period (1841-1849) includes the Sonata in B minor,
Barcarolle, Op. 60, Berceuse, Op. 57, Fantasie in F minor, Op. 49, G
flat Impromptu, Op. 51, Polonaises, Op. 44 and Op. 53, a number of
Mazurkas, and other short pieces. According to Abraham, this period
is the most distinguished output in terms of harmony, melodic line,
contrapuntal writing, and the art of keyboard facture- a perfect
embodiment of all the outstanding features of the new style of piano
writing: percussive-singing, melody, use of the pedal, chromatic
filigree work over a diatonic foundation, and contrast of registers. 30

REFERENCES
1.

J. Kleczynski, Chopin's Greater Works, cited in The Legacy

of Chopin, Jan Holeman, (New York: Philosophical
Library, 19 54), p. 5.

2.

W. H. Hadow, Studies in Modern Music, Second Series., cited

in Chopin: The Man and His Music, Herbert Weinstock,
(New York: Alfred A. Knopf, 1949), p. 169.

3.

Alan Walker, editor, Frederic Chopin: Profiles of the Man

and the Musician, (London: Barrie and Rockliff, 1 966),
pp. 242-243.

4.

Henry T. Finck, Chopin and Other Musical Essays, (New York:

Books for Libraries Press, 1972), p. 42.

5.

Gerald Abraham, Chopin's Musical Style, (London: Oxford

University Press, 1941 ), p.1.

6.

Bernard Gavoty, Frederic Chopin, translated by Martin

Sokolinsky (New York: Charles Scribner's Sons, 1977),
p. 232.

7.

Weinstock, op. cit., p. 238.

8.

Abraham, op. cit., p. 43.

9.

Weinstock, op. cit., p. 27 4.

10.

Maurice J. E. Brown, Chopin: An Index of His Works, (London:

Macmillan Press, 19 72), p.160.

17

18
11.

Oscar Thompson, editor, The International Cyclopedia of

Music and Musicians, 11th ed. "Frederic Francois
Chopin," by William Murdoch, (New York: Dodd, Mead &
Company, 1985), p. 412.

12.

J. Robison, Program notes, Chopin Sonatas, Wladyslaw

Kedra, (Westminster 18882, U.S.A.)

13.

G. C. Ashton Jonson, A Handbook to Chopin's Works, (London:

William Reeves, 1908), p. 2 52.

14.

Walker, op. cit., p. 250.

15.

Charles Stanley and Ernest Werner, Program notes, Chopin

Sonatas, Guiomar Novaes, Vox 7360, 1952, U.S.A.

16.

James Huneker, Chopin: The Man and His Music, (New York:
Charles Scribner's Sons, 1901 ), p. 300.

17.

Murray Perahia, Program notes, Chopin Sonatas, Murray

Perahia, Columbia 32780, 1974, U.S.A.

18.

Stanley and Werner, op. cit.

19.

Weinstock, op. cit., p. 276.

20.

Edgar Stillman Kelley, Chopin The Composer: His Structural

Art and its Influence on Contemporaneous Music, (New
York: Cooper Square Publishers, Inc., 1969), p. 5.

21.

Ibid

22.

Jonson, op. cit., p. 17.

23.

Stanley Sadie, editor, The New Grove Dictionary of Music

and Musicians, 6th ed. s.v., "Fryderyk Chopin," by
Arthur Hedley, J. E. Brown, Nicholas Temperley, and
Kornel Michalowski. (London: Macmillan Publishers
Ltd., 1980 ), p. 292.

19
24.

Ibid., p. 296.

25.

Ibid.

26.

John Gillespie, Five Centuries of Keyboard Music, (New

York: Dover Publications, Inc., 1965), p. 220.

27.

Harold C. Schonberg, The Great Pianists from Mozart to the

Present, (New York: Simon and Schuster, 1963), p. 138.

28.

Sadie, editor. op. cit., p. 299.

29.

Abraham, op. cit., p. xii.

30.

Ibid., p.102.

CHAPTER

II

RELATED LITERATURE REVIEW

To begin research of the literature, two principal data

bases were explored. The first, the Library Control System (LCS)
is the computerized catalog and circulation system that links all
libraries on the OSU campus and also incorporates the catalog of
the State Library of Ohio. The second source was Dissertation
Abstracts. Other sources included the music library card
catalogs, music journals, discography, Music Indexes, and RILM
Abstracts (Repertoire Internationale Literature Musique). My
search of the sources yielded very little information on my
research topic.
Due to the lack of information regarding Chopin's Sonata in
B minor, Op. 58, I decided to provide my own analysis and
discussion of the work. It is hoped that this study will be helpful
to other pianists and pedagogues in gaining a better understanding
of the sonata.

20

21
General

Literature:

Huneker's Chopin: The Man and His Music is a good

introduction and discussion of Chopin's output, although the
writing style is a little out of date.
A 1905 book by Jonson, A Handbook to Chopin's Works, for the
Use of Concert Goers, Pianists, and Piano/a-Players, is a
collection of remarks selected from the writings of various
pianists, critics, and authors such as Frederick Niecks, Franz
Liszt, James Huneker, Moritz Karasowski, Jean Kleczynski, and
Anton Rubinstein.1
An early work by Dunn attempts to establish the appropriate
pianistic treatment of the rich ornamentation to be found
throughout Chopin's works. 2
In Chopin by Henri Bidou, translated by Catherine Alison
Phillips (Alfred A. Knopf, 1927), includes a biography, and
musical analysis in every chapter. Bidou cites an opinion of
Chopin's music expressed by Vincent d' Indy, who describes the B
minor sonata: "It is unfortunately quite lacking in constructive
power and coordination of ideas, .... but most of the actual ideas
are truly brilliant in wealth of melodic invention." 3
Edith J. Hipkins wrote How Chopin Played from
Contemporary Impressions Collected from the Diaries and Note-

22

books of the Late A.J.Hipkins in 193 7. According to Hipkins,

Chopin never played his own compositions twice in the same
manner, but varied each according to the mood of the moment. 4
Abraham's work, Chopin's Musical Style, describes the
unfolding and maturing of Chopin's musical mind. Abraham
discusses Chopin's use of form:
Chopin's form is generally considered to be his
weakest point. It was also the weakest point of all his
contemporaries. And, of course, compared with
Beethoven's -a fantastically unfair comparison... his
sense of form is primitive, being limited almost
exclusively to the possibilities of more or less
modified ternary form. s

Most of the piano works are carefully analyzed by Abraham, and

an index is included.
Hedley describes Chopin's use of melody
The tone which Chopin drew from the instrument,
especially in 'cantabile passages,' was immense ... a
manly energy gave to appropriate passages an
overpowering effect- energy without coarseness; but,
on the other hand, he knew how to enchant the listener
by delicacy- without affectation. 6
Hedley's 194 7 book is one of the most important
contributions to understanding

Chopin literature. Hedley also

includes chapters on Chopin as a pianist, teacher, and composer,

23

as well as a discussion of some major works.

Gide's 1949 work, Notes on Chopin translated from the
French edition by Bernard Frechtman, will interest the general
music lover. It includes a discussion of problems of performers
who misunderstood Chopin's music. Gide offers performance
suggestions for Chopin's piano music:

In general, for Chopin's music, the performer 'adopts'

too rapid movement. Why? Perhaps because Chopin's
music is not in itself difficult enough and the pianist
is bent on showing off, as if it were much more
difficult, when one attains a certain mastery, to play
quickly than to play slowly. Above all through
tradition. The performer who, indeed, for the first
time, would dare to play Chopin's music in the proper
Tempo, that is, much more slowly than is customary,
would really be bringing out its meaning for the first
time, and in a way capable of playing his audience into
a deep ecstasy: which is Chopin's due. The way he is
usually played, the way all the virtuosi play him,
hardly anything remains but the effect. 7

Weinstock (1949) provides a useful biographical section in

his work which is longer and more detailed than Hedley's. This is
followed by a complete listing of Chopin's works and explained in
detail in the author's introductory section on form. According to
Weinstock, the first movement of the sonata in B minor, Allegro
maestoso, opens with a theme sufficiently broad and ample in

24
character, and sufficient in rhythmic and harmonic implications
to serve as the opening of a long composition. Many critics,
however, have felt that this section is overburdened with ideas,
poorly constructed to support them, but this is due in part to the
old insistence that Chopin never learned how to use sonata form. 8
Cortot discusses Chopin's pedagogy in his book, which also
includes a bibliography and discography section. He writes that

For Chopin it was essential that his pupils should put

the whole of their souls into their playing, and he made
this significant remark, 'Music that has no underlying
meaning is false.' 9

Brown's Chopin, An Index of His Works in Chronological

Order, is a thorough and exhaustive thematic catalogue which

lists the complete works of Chopin. Information for each
composition includes full particulars of publication, dedication,
location of manuscript, and other related details. 10
Harasowski provides interesting essays on Chopin's life and
music in his 1967 work. The biographies, collections,
correspondence, and documents are written by distinguished
scholars. 11
Among the most valuable sources of Chopin's music in
English is Alan Walker's collection of essays by noted Chopin
scholars, Frederic Chopin: Profiles of the Man and Musician,

25
published in 1967, 2nd ed., in 1979. The essays include a brief
biography by Arthur Hedley, historic background by Arthur
Hutchings, a section on 'jChopin's Influence" by Paul BaduraSkoda, "Chopin and Musical Structure: An Analytical Approach", by
Alan Walker himself, and chapters on various groups of pieces by
other noted authors. Nearly all of Chopin's compositions are
discussed and many of them received detailed analysis. 1 2
Higgins provides a very helpful source for the pianist to
interpret Chopin's works.

The article also provides a comparison

of tempos of autographs and printed editions. The author's

dissertation suggests performance practices for Preludes, Op. 28,
Ballades, Op. 38 and Op. 4 7, and Scherzi, Op. 31 and Op. 54. 13
The recent 1980 edition of Grove's Dictionary is an
excellent source by current scholars: Arthur Hedley, J.E. Brown,
Nicholas Temperley, and Kornel Michalowski. It also provides
some revealing analyses of Chopin's compositions. 14
Methuen-Campbell provides an excellent source for Chopin
music lovers in his book which includes an index, discography, and
bibliography . 15 The first chapter summarizes Chopin's playing
and teaching as well as that of

his contemporaries, such as Liszt

and Clara Schumann. The second chapter is devoted to the pupils

of Liszt, Leschetizky, and Chopin. The remaining six chapters are
divided by nationality of Chopin's playing to the present day.

26
According to the author, it appears that the Russians have a
special affinity for Chopin's works, and there have been many
great Chopin players from Russia, as well as from Poland and
France. Methuen-Campbell quotes Rachmaninov's statement about
Rubinstein's use of pedal during a performance of the B minor
sonata:

The pedal has been called the soul of the piano. I never
realized what this meant until I heard Anton Rubinstein,
whose playing seemed so marvellous to me that it
beggars description. His mastery of the pedal was
nothing short of phenomenal. In the last movement of
the B-flat minor sonata of Chopin he produced pedal
effects that can never be described; for anyone who
remembers them they will always be treasured as one
of the greatest of musical joys. l 6

A special Chopin Edition in the Spring, 1 981 issue of The

Piano Quarterly generally provides many studies of Chopin's
music. 17 It includes "an overview of Chopin's piano music" by
Adam Harasowski, "Ballads and Ballades" by David Witten,
"Chopin's Tempo Rubato in Theory and Practice" by Walter Robert,
"Chopin's Practices" by Thomas Higgins, "How did Chopin Want
his Ornament Signs Played" by Thomas Fritz, "Arpeggiation in
Chopin-Interpreting the Ornament Notations" by George A.
Kiorpes, and a Bibliography by Maurice Hinson and Frank E. Kirby.
A 1985 work by Samson is a useful source of information

27
regarding the complexities of Chopin's piano music. The author
also suggests works and composers that influenced Chopin's
harmonic, melodic and structural style. It also includes a
biographical sketch, illustrations, musical examples, extensive
bibliography, lists of works, and composition index. 1 8
Perhaps the most recent enlightening sources in detailed
documentary and analytical studies of the music of Chopin is
Samson's 1988 book, which contains 10 essays representing the
leading scholars in the field. 19 The first three essays are
concerned with Chopin's intentions as revealed in autograph
sources. The next four discuss

different analytical aspects of

Chopin's musical language, and the final three essays are case
studies of individual works such as the Preludes, Op. 28, the
Barcarolle, and the Fantasy, Op. 49.

REFERENCES

1.

G. C. Ashton Jonson, A Handbook to Chopin's Works, (London:

William Reeves, 1908), 287 pp.

2.

John P. Dunn, Ornamentation in the Works of Frederick

Chopin, (London: Novello and Company, Ltd., 1921),
75 pp.

3.

Henri Bidou, Chopin, translated from the French by Catherine

Alison Phillips, (New York: Alfred A. Knopf, 19 27), pp.
208-209.

4.

Edith J. Hipkins, How Chopin Played, (London: J. M. Dent &

Sons Ltd., 1937), p. 7.

5.

Gerald Abraham, Chopin's Musical Style, (London: Oxford

University Press, 1941 ), pp. 44-45.

6.

Arthur Hedley, Chopin, (London: J. M. Dent & Sons Ltd., 1947),

p. 120.

7.

Andre Gide, Notes on Chopin, translated from the French by

Bernard Frechtman, (New York: Philosophical Library,
1949), pp. 36-37.

8.

Herbert Weinstock, Chopin: The Man and His Music, (New York
Al'fred A. Knopf, 1949), p. 27.

9.

Alfred Cortot, In Search of Chopin, (New York: Abelard Press

1952), p. 29.
28

10.

29
Maurice J. E. Brown, Chopin: An Index of His Works, (London:
Macmillan Press, 1972), pp. 159-160.

11.

Adam Harasowski, The Skein of Legends Around Chopin,

(Glasgow: William Maclellan, 1967), 383 pp.

12.

Alan Walker, Frederic Chopin: Profiles of the Man and

Musician, (London: Barrie and Rockliff, 1 967), 334 pp.

13.

Thomas Higgins, "Chopin Interpretation: A Study of Perform

ance Directions in Selected Autographs and Other
Sources," Ph.D. Dissertation, The University of Iowa,
1966.

14.

Stanley Sadie, editor, The New Grove Dictionary of Music

and Musicians, 6th ed., Fryderyk Chopin," by Arthur
Hedley, J. E. Brown, Nicholas Temperley, and Kornel
Michalowski, (London: Macmillan Publishers Ltd.,
1980), pp. 292-312.

15.

James Methuen- Campbell, Chopin Playing: From the

Composer to the Present Day, (London: Victor Gollancz
Ltd., 1981 ), 289 pp.

16.

Ibid., p. 1 29

17.

Robert J. Silverman, editor, The Piano Quarterly, 11 3 Spring

1981.

18.

Jim Samson, The Music of Chopin, (London: Routledge &

Kegan Paul, 1985), 243 pp.

19.

Jim Samson, editor, Chopin Studies, (Cambridge: Cambridge

University Press, 1988), 258 pp.

CHAPTER

Ill

ANALYSIS

Analysis is an important tool for the performer in any

music, especially in a complex, problematic, large-scale work
such as the Sonata in B minor. Walker defines the role of analysis
as explaining
... what, on an intuitive level, we already know to be
true. It rationalises musical experience. It succeeds
the 'leap in the dark.' It helps one to understand one's
musical understanding. 1
He discusses structure and performance problems, stating that
... there are no aspects of structure that are not, at
the same time, aspects of interpretation. Tempo,
dynamics, note-duration, agogic accents, rubato, etc.all these things are functions of musical structure.
That is the great lesson of musical analysis. A
musical structure contains the answer to the problem
of its own interpretation. A great interpretation is
never "applied" from without; it always emerges from
within. 2
Walker also emphasizes the importance of the performer, stating
that

30

31

Musical analysis becomes a dead letter once the

performance is forgotten. It is the player who makes
music live; the more he knows about the way it hangs
together, the more successful he will be in this task. 3
In general, the B minor sonata has motivic unity, a unity
which is "all the more remarkable at this stage in musical
history." 4 The opening notes of the first movement have much in
common with the theme in the last movement. In fact, the same
pitches and intervals are present in both themes (Example 1 and

2):

Example 1: Mvt. 1, mm. 1-4.

Example 2 : Mvt. 4, mm. 9-12.

32
Emphasizing the idea of unity makes an appropriate start
for analyzing this sonata. While the themes are contrasting, there
are many underlying structure links. As pointed out earlier, the
theme of the last movement is closely related to the opening.
There is another close connection between these two themes via
the second theme of the first movement. Labeling the opening
motive A and its answer B, we find both in the second theme
(Example 3 ):

Example 3: Mvt. 1, mm. 41-46. Second Theme, Motives A and B

T..&i.

The character and mood of the second theme are different from
the first theme even though they are structurally related.
Labeling part of B as C (see example 4)

33

Example 4: Mvt. l, mm. 41-44. Second Theme, Motive C

!.;).

f,;-..

!.;).

a strong link is created to the last movement (see example 5):

Example 5: Mvt. 4, mm. 9-12.

T-:jj:

---

34

Kelly recommends caution in the analysis of Chopin's music:

One can never be too careful in analyzing Chopin's
compositions, for even in his episodes and passagework many a measure, apparently non-essential,
proves on inspection to be constructed with surprising
ingenuity. Pianists should bear this in mind; for, by
bringing out the inner voices, which deserve as
careful enunciation as those in a Bach fugue, they will
disclose new beauties otherwise overlooked. 5

The score used for this analysis was the Polish edition,
edited by I. J. Paderewski, which is the complete edition of
Chopin's works in 20 volumes, including an additional six volumes
of

instrumental parts. 6

35
First Movement: Allegro maestoso
The design of the first movement is suggestive of sonata
form but lacks the first theme in the recapitulation (See Table 1).
The interesting and characteristic point to be noted in this
movement is that the first theme is developed to such a large
extent that the recapitulation virtually begins with the second
subject. 7 The first theme of the Exposition is in B minor, but the
second theme is in D major in the Exposition and appears in B
major in the Recapitulation. Harasowski suggests that
... the composer seems to have found it difficult to
keep the profusion of the thought within due
proportions. In the development of the first theme
there is a want of repose which is only made up for by
the wonderful cantilene in D major. 8
Walker emphasizes the difficulty of performing this movement:
... structurally the movement is very treacherous. Its
'geometry,' superficially so simple, is far more
elusive than that of the first movement of the B flat
minor sonata. . .. The movement unfolds such an
astonishing prodigality of themes, each with its own
highly individual propensities, that it can easily
degenerate into a shapeless muddle even under
experienced hands. It is a ticklish problem to get
those themes into the right primary and subordinate
relationships to one another- to see the structure in
toto. ... The movement only takes shape when you have
set in motion its long-range, basic tempo, the 'pulse
behind the pulse' which continues to assert itself
even where it is not currently in use, a tempo which

36
may be discarded or resumed at will in order to 'point'
the structure, a tempo against which the performance
may brake and accelerate according to immediate,
spontaneous needs.9

37

TABLE 1
Form of the First Movement

Section

Tempo

Exposition

Allegro
maestoso

Measures

1-93

1-40
-First theme
-long transition
41-56
-Second theme sostenuto
57-60
groups
(e molto
espressivo)* 61-65
-bridge passage
-Closing theme

66-71
72-7 5
76-93

Development
-summary of
exposition's long
transition

94-1 50

Re ca pi tu la ti on
-Second theme sostenuto
-Closing theme
-Codetta

1 51-204
151-185
186-197
1 98-204

*Henle Edition

Keys
B minor

D major

D major

B major
B major
B major

38
A falling ninth from G to F sharp is a powerful opening. The
very first statement and the orchestral textures of the first page
(rnm.1-10) prepare for a work of large proportion. The challenge
begins at measure 1 7, with the arrival of the second theme 24
measures later. Huneker comments that "the first page, to the
chromatic chords of the sixth, promises much. There is a clear
statement, a sound theme for developing purposes, the crisp
march of chord progressions, and then the edifice goes up in
smoke." 10
In marking the fingering, the only mark given by Chopin 1s
for the left hand in measure 29 (see example 6)
Example 6: Mvt. 1, m. 29.

The long and agitated transition follows a stormy opening

which prepares a beautiful melody in a new key, often m the
intervallic relationship of the third rather than the fifth m the
music of the nineteenth century composer.

39
The second theme arrives at measure 41 in D major. As Huneker
describes " ... there is morning freshness in its hue and scent, and,
when it bursts, a parterre of roses ... " 11 There is a canonic
foreshadowing of the second theme in measures

23-24,

(Example 7):

Example 7: Mvt. 1, mm. 23-24.

r=

~~

{~ -_

"' .-:
'I
2~

Most of the passage is virtuosic forte passage work which

needs careful pacing of tempo and dynamics all the way through
the arrival of the second theme.
After the heroic opening and the virtuosic transition,
setting the proper mood of the sustained second theme may be
difficult for the performer. It is lyrical in character, but hardly
considered to be a point of relaxation after the preceding
structure. It is more a climax point of the arrival than of
relaxation.

,,

40
It grows continuously to the development section, involving a
number of subsidiary themes along the way. According to the
score, Chopin has not helped the performer with any dynamic
indication. The only marking is "sostenuto" above the melody. In
the fifth measure after the second theme appears, it reappears
one-half step higher. If the beginning of the theme is to be played
loudly, what is to be done five measures later? Performing double
fortissimo on a lyrical theme is uncommon.
One solution is to consider the importance of the harmonic
structure for the left hand and the slow rhythm, which is in D
major for three measures (mm. 41-43). In order to achieve proper
balance between melody and accompaniment, one should play the
first low D very strongly and use half pedal until the second low
D, allowing the second phrase to enter at either a slightly louder
or softer dynamic level (m. 45).
The use of pedal, in any of Chopin's works, is very delicate,
and affected by many factors, such as instrument, touch, tempo,
or acoustics of the room.
An interesting tenor counter-theme which some performers
emphasize appears in the third and fourth measure (mm. 43-44),
see example 8:

41
Example 8: Mvt. 1, mm. 43-44.
sostenu-_:l:..o- - - - -

fl.

'.fbi.
'.fbi.

* '.fbi.

The Paderewski Edition has the double-stems, unlike the

Henle Edition. The resolution in the middle of the eighth measure
of the theme (m. 48), also begins a new phrase. The note A is both
an end and a beginning, and Chopin has marked a long slur over the
second and third phrases (mm. 4 7-50). This overlapping point

42
requires attention during performance. During my preparation of
this movement, my teacher suggested that the A in measure 48 be
played softer than the G sharp in order to resolve the G sharp and
the preceding phrase. He also recommended that I think
harmonically in order to have a sense of continuity in rhythm. 1 2
The first section of the second theme group comes to an end
with a flourishing sweep (mm.52-56)(see example 9). This is
followed by a second section of the second theme group which
opens with the intervals of the opening theme of the piece
(example 1 O)
Example 9: Mvt. 1, mm. 52-56.

Example 10: Mvt. 1, mm. 57-58.

~~~
-:t -:t /
. :;+:";
!~
Tail.
*

(legato)

43
The third section of the second theme group arrives four
measures later. The natural heroic theme (mm. 61-65) leads into
a chromatic section (mm.66-75). It is one of the interesting spots
where the performer pays attention to the beauty of the notes in
detail, but may lose the idea of the section as a whole. The score
is marked "leggiero,"

and indicates a soft dynamic level, with an

interesting descending stepwise sequence (mm. 66-71 ).

Example 11 : Mvt. 1 , mm. 66-71 .

44
These elements (mm. 66-71) combined with the
chromaticism and the succeeding bridge passage (mm. 72-7 5) may
tempt the performer to slow the tempo. In order to avoid such a
tempo change, the performer should conserve energy and try to
relax the tension for the next closing theme, see example 12.
Example 12: Mvt. 1, mm. 72-7 5 bridge passage.

The closing theme begins at measure 7 6 (example 13),

creating another point of mood relaxation in the movement. The
theme is supported by 16th-note arpeggios for the left hand. The
theme contains a complete second voice, appearing as sixteenth
notes contrasted to quarter notes and eigth notes for the
uppermost theme. The performer must avoid exercising excessive
rubato in the embellishing triplets which might interrupt the
flow of the melodic line.

45
The end of the exposition (mm.84-89) seems to be a
continuing point to the next section. A ritard makes continuity to
the development section less successful (see example 14).
Example 1 3: Mvt. 1 , mm. 7 6-84.

Example 14: Mvt. 1, mm. 84-89.

46
The development section begins at measure 94. Many
versions of the first theme are heard. A big climax "forte"
(m.11 7), followed by an extreme contrast of "piano" in the same
measure, leads into the second melody of the second theme group
(mm. 57-60) which is presented in measure 118, and also in
m.123 and 124. Generally, the development emphasizes the
difference between the first and second theme groups by the
sharp contrast at m. 117. The performer may find difficulties in
the sudden changes of dynamics, and tempo, as well as the
fingering. Division of notes and octaves between the hands frees a
hand to prepare a wide leap or direction change of both hands. In
the figuration of mm. 146-14 7, the problem of notation is found.
In the Exposition, this passage consists of three measures
(mm. 35-37), but here are only two measures. (see example 15
and 16)
Example 15: Mvt. 1, mm. 35-37.

Expositio~n_,__.-----~-------------

47
Example 1 6: Mvt. 1, mm. 146-14 7.
Development

'.l':ul.

As in the 8-flat minor sonata, there is no first theme in the

recapitulation. The recapitulation starts in m. 151 in B major,
with the tempo indication of "sostenuto." Some of the agitated
transition material of the exposition (mm. 17-40) from the first
theme to the second theme is recapitulated, but the major tonic
is not heard until the restatement of the second theme (m.151 ),
reaching the real goal of the development (example 17).
Example 17: Mvt. 1, mm. 151-154.
sostenufo
3

48
The transition from the development section to the recapitulation
of the second theme is reminiscent of the opening motive A from
measure 131 on (see example 18).
Example 1 8: Mvt. 1, mm. 1 31.

~-

The recapitulation of the second theme and closing theme

groups is similar to the exposition, with the exception of the
codetta mentioned earlier. There are many changes in the rhythm
of the actual themes, characterized by adding /subtracting dotted
rhythms and shortening /lengthening note values. Some
performers choose to emphasize the second theme's arrival of the
recapitulation section by playing it in a somewhat grander style
than in the exposition. The recapitulation is similar to the
Exposition, with an additional six-measure codetta, and has the
same performance problems as discussed earlier.

49
Second Movement: Scherzo and Trio
As in the B-flat minor sonata, Chopin ignores the tradition
of placing the Scherzo as the third movement, inserting it as the
second movement, thereby creating greater contrast and
structural tension as well. 13 It is in E-flat major instead of the
expected key of D major, perhaps another way of asserting the B
major ending of the first movement. 14 This is due to the
enharmonic effect of Eb= D#, suggesting the major third of the B
major triad.
Huneker speaks of this movement as "vivacious, charming,
light as a harebell in the soft breeze. It has a clear ring of the
scherzo, and harks back to Weber in its impersonal, amiable
hurry." 15

(The harebell, also called "bluebell," is a plant with

bell-shaped blue flower).

The overall form of the Scherzo and trio movement can be
seen as follows:

50
TABLE 2
Form of the Second Movement

Section

Tempo

Scherzo

Keys

Molto vivace

Measures

E-flat major

1-60

via E-flat=D-sha rp
to
Trio

B major

Scherzo

61-156

E-flat major

157-216

There is a close structural link between the scherzo and

trio section found in example 19, and 20.
Example1 9: Mvt. 2, mm. 1-5. Scherzo section.

SCHERZO
~

,~

Mollo vi~
12

~) ~-1

' t-1

1:JtiiS4

:-

leggier~

1 2

-' .
I

'.til.

'

--.,,.,,

L 1 /""""

''3

,_.
..,

... c.j!: += t:.:::

--

,....--.

-- ~
'
Tm. .,,
'

t7

'

A motivic structure is found at the soprano part m. 61 -64.

(see example 20)

51
Example 20: Mvt. 2, mm. 61-70. Trio section.

The movement starts with a senes of figures for the right

hand that move up and down on the keyboard, supported by a few
accents by the left hand. At m. 49, the left hand plays along with
the right hand in parallel motion, it is the first time of the
movement indicated "forte". The continuing accents (mm. 53-60)
create the perfect ending of the Scherzo section with
"fortissimo" marking (see example 21 ):
Example 21: Mvt. 2, mm. 48-60.

1
:>5

315315

>

52
Perahia believes that the rhythm is the main unifying
element between the scherzo and trio section, and his
performance reflects this. 16 He plays the Scherzo slower than the
standard range of tempos and the Trio faster than standard to
retain the same pulse throughout the movement. Most pianists,
including myself, attempt to follow the Molto Vivace indication
and play the Scherzo as fast as possible. It would make the Trio
absurd if it is played at the same tempo as the Scherzo. The
movement is usually treated as a standard Scherzo and Trio, with
the Trio taken at the slower tempo.
The trio section in B major (mm. 61-156) presents few
problems for the pianist. It is full of tied notes. The melody
should be projected, and the fingers have to be ready before
playing the notes. One can take a little time between phrases. The
example below represents the solution in the movement. This
section concerns lyric possibilities of simple chords and long
melodic line.
Example 22: Mvt. 2, mrn. 71-80.

r~r-~r~r

53
Despite the contrasting textures, the Scherzo and Trio are both
somewhat light in character. This Scherzo is very different from
Chopin's four independent Scherzos. Presently, the replacement of
this brilliant and flamboyant movement between the first and
third movements is a stroke of genius. The first movement
contains very rich thematic material, and the third movement is
also extremely rich, in a different way from the first. The
character of this second movement, with its brilliance and drive.
makes this sonata less intense. According to one writer, the
Scherzo movement is like "a flexible movement, yet at the same
time abrupt and languid, like a candle flame vacillating under a
breath." 1 7

54
Third Movement: Largo
Liszt describes this slow movement as "accentuated,
measured swaying and balancing." 18 The slow movement is a long
poetic monologue that also retains the atmosphere of Chopin's
keyboard improvisation. Chopin always gave the impression that
he was improvising when he played the piano, even at a public
recital. The rhythms of this movement constantly change between
regular and irregular, predictable and unpredictable. The long
middle section focuses on a winding melodic line. It is a long
musical structure made of simple materials, but with successful
effects.
Huneker writes that "The Largo is tranquilly beautiful, rich
m its reverie, lovely in its tune. The trio is reserved and
hypnotic. 19 Perahia writes in the notes of his own recording:
This movement tries forcefully to dispel any trace of
anxiety. Its theme is almost exclusively built on just the
notes of the triad. To call this simplicity banal, as some
commentators have done, is, I think, to miss the tragic
essence of its simplicity. The middle section, in the
subdominant key of E major, is an echoing of some very
simple harmonies, sounding much like an improvisation. 20

55
Compared to slow concerto movements by other composers, this
movement is a rather long and difficult for the performer to
maintain the proper mood throughout. During my preparation of
this movement, I concentrated on the balance between hands, and
sustained the melody by allowing the body to move along the
musical lines. There might be a few problems for the pianist with
small hands at mm. 1 5-1 6. The following example is
representative of the type of note distribution solution useful m
these measures.
Example 23: Mvt.3, mm. 15-16 .
..--.

ts

:I

.. .

-~.

PWM
HI

The tonic key of the second movement enharrnonically transforms

E-flat into D-sharp at the opening of the third movement (Largo),
revealing Chopin's sense of modulation and his prodigious
resources of invention.2 1 Four dramatic introductory measures
precede the expressive melodic line, shown in example 24:

56
Example 24: Mvt. 3, mm. 1-4.

The movement is in

A-B-A form. The first A section is in B

major. It has a beautiful melody, and is not very problematic to

perform successfully. The B section requires more color under the
arpeggiated figuration for the right hand. This part can be played
a little faster in order to project the sense of continuity. (See
example 25 and 26)
Example 2 5: Mvt.3, mm. 5-8. Section A

--~:1~ ~~~~i5~3~~~~~~~
~
{1, cantabile

fr

,.,..-...._

T.i).

\..: .
'.&.;).

.......

'-~T.;)

Example 26: Mvt. 3, mm. 29-32.

~-

5S

* -

+=
,__+

'f.;i.

57
The second A section starts at measure 99 accompanied with
triplets of the left hand. The performer might play this section
more freely to maintain a good balance and beautiful melody of
the slow movement. (Example 27)
Example 27: Mvt. 3, mm. 99-102. Second A section

Tr;).

Tr;).

*
TABLE 3

Form of Third Movement

Section

Measures

Keys

1-28

B major

29-98

E major

99-120

B major

58
The new Grove's (Chopin) discusses some general nineteenth
century trends which may be apply in this particular movement:

Another innovation of great importance for the future was

the 'harmonic daydream', as it might be called. The music
seems to go into a daze, cut off from the world of reality in
musical terms, from the business of continuing the
harmonic, thematic and structural development of the piece.
Usually the harmony is completely static in these passages,
or it repeats, with hypnotic monotony, a series of two or
three chords ...... The Berceuse may be thought of as a
continuous daydream. In terms of the Classical conceptions
of form and development such passages could be regarded as
flaws or weaknesses, but they exercised important
influence on the impressionists, through such works as
Faure's nocturnes and Barcarolles. With them Chopin had
shown a way to appeal directly to sensation, suspending for
a while the stimulation of the listener's intellect. 2 2

In performance, this movement can be played by balancing

the overall shape of small details, avoiding excessive ritards.
Much careful use of rubato, voicing, and pedalling needs to be
accomplished by the performer, in order to suggest a mood of
improvisation.

59
Finale: Presto, non Tanto.
The last movement is one of the most effective pieces of
pure bravura Chopin ever composed. Many commentators rank it as
one of the most important achievements in this genre to be
considered anywhere in large-scale masterpieces. According to
Weinstock: "In subject matter, in handling, in scope, and in sheer
sonorous beauty, it is one of the major musical achievements
after Beethoven. It entitles Chopin to a place with all masters of
imagination and form."23
Virtuosic notation exists in the background of every
measure from the beginning to the end. It is in rondo form with
the main theme appearing three times. As Walker states: " the
finale is one of the few sonata- rondos in musical history where
the main theme returns out of the tonic key."2 4

60
TABLE 4
Form of the Finale

Tempo

Section
Introduction

Presto, non tanto

Agitato

Keys

Measures
1-8

B minor

9-27

A (Bve higher)

B mm or

28-51

Ba

B major

52-7 5

F sharp major

76-95

Transition

B mm or

96-99

E minor

1 00-1 1 8

A (8ve higher)

E minor

119-142

E flat major

143-1 66

E flat major

167-182

Bb

Leggiero

Ba
Bb
Longer

Leggiero
transition

1 83-206

B minor

207-225

A (8ve higher)

B minor

226-253

Coda

B major

254-286

61
The opening of an ascending melody in octaves (mm. 1-8)
functions as a short introduction. (see example 28) The first
theme begins in B minor, indicating "agitato" at m. 9, example 29.
Example 28: Mvt.4, mm. 1-8. Introduction.

Presto, non tanto

Example 29: Mvt.4, mm. 9-13.

The six versions of the theme are arranged in pairs. The

first two are in the tonic Key of B minor (mm. 9 and 28). The
second A enters an octave higher with the dynamic marking
"forte." The best best way to practice the part is to use more

62
motion, and follow the thumb. The treatment sometimes involves
less legato, leaving a note before its full duration, or slight use
of the damper pedal to sustain the tone. (example 30)
Example 30: Mvt.4, mm. 28-35.

Tai).

This is followed by a fortissimo B section in B major (m. 52) (see

example 31 ), and leggiero F sharp major at m. 76 ( example 32).
Most of the B section is passage work, serving as the bridge
between the section. The running passages of the B section
combine the different figuration of descending 16th-notes and
ascending eight-notes of the right hand while the left hand plays
the chords written as dotted quarter notes. The suggestion in this
particular section is that the performer should feel the beat of
both hands, and also think of the long line. The melody of the
uppermost part has to be precise, and the rest must be carefully
observed (example 31 ):

63

Example 31: Mvt 4, mm. 52-58.

'.r.c;i.

~2

The "leggiero" second B section shows a similar idea mentioned

earlier, except for the accompaniment of the left hand. The
performer has to listen to the counter-melody of the long value
notes appearing in the bass. The dynamic marking used by Chopin
is almost always identical with the melodic shapes. When the
melody ascends, Chopin uses crecendo, and when the melody
descends, he uses decrescendo. (example 32)

64
Example 32: Mvt. 4, mm. 76-80.

/egg~

2,,,-

"-- .. ~

The first transition is at measure 96 with dynamic marking of

"forte". The sixteenth note accompaniment of the right hand
switches to the left hand two measures later, making a smooth
connection of the theme. (see example 33)

65
Example 33: Mvt.4, mm. 96-99.
--~--~--~--~~----

The main theme returns in E minor in three agJ1:1::.;t lvur (mm.100,

119) (see example 34, 35), followed by the B section in E flat
major (m.143)(example 36), and leggiero in E-flat (m.167)
(see example 37)
Example 34: Mvt. 4, mm.100-104.

66
Example 35: Mvt. 4, mm.119-122.

Example 36: Mvt. 4, mm. 143-146.

Example 37: Mvt. 4, mm. 167-170.

67
An extended bridge (mm. 1 83-206) makes a dramatic transition
into the main theme in B minor at m. 207. (see example 38)
Example 38: Mvt. 4, mm. 183-191.

::::f

. . . ..

Ilf

'.f.i).

The last pair of the main theme presents a furthur agitated three
over six in measures 207 and 226. (See example 39 and 40)
Example 39: Mvt. 4, mm. 207-210.

68
Example 40: Mvt. 4, mm. 226-229.

The coda begins at measure 2 54 with the dynamic marking of

"ff", (example 41 ). It is extremely virtuosic and in the tonic key
of B major. The intensity of the coda creates a triumphal
conclusion. (See example 42)
Example 41: Mvt. 4, mm. 254-255.

==""

.I

69
Example 42: Mvt. 4, mm. 279-286.

The main theme of the finale movement has much in common

with the opening theme of the first movement as discussed
earlier. Both of these movements begin in B minor and end in B
major. It hardly appears accidental, but it seems to demonstrate
Chopin's effort to unify the piece into an organic whole.

70
REFERENCES

1. Alan Walker, editor, F. Chopin: Profiles of the Man and the

Musician (London: Barrie and Rockliff, 1966), p. 230.
2.

Ibid., p. 256.

3.

Ibid., p. 227.

4.

Ibid., p. 2 50.

5.

Edgar S. Kelley, Chopin the Composer: His Structural Art and

Its Influence on Contemporaneous Music (New York:
Cooper Square Publishers, Inc., 1969), pp. 42-43.

6.

Nicholas Temperley, "Scorography: The Music of Chopin,"

Musical Newsletter, 4 (Winter, 1974), p. 13.

7.

Walker, op. cit., p. 1 61.

8.

G. C. Ashton Jonson, A Handbook to Chopin's Works (London:

William Reeves, 1908), p. 2 52.

9.

Walker, op. cit., p. 254.

10. James Huneker, Chopin: The Man and His Music (New York:
Charles Scribner's Sons, 1901), p. 300.
11. Ibid.
12. Author's notes during piano study with Professor Andre
Laplante, The Ohio State University School of Music,
Winter Quarter, 1989.
13.

Walker, op. cit., p. 255.

71
14. Murray Perahia, Program notes, "Chopin Sonatas,"
Perahia, Columbia 327 80, 19 7 4, U.S.A.

Murray

15. Huneker, op. cit., pp. 300-301.

16. Perahia, op. cit.
17. Karl F. Reuling, Program notes, "Chopin Sonata No. 3,"
Concerts of Great Music, Witold Mulcuzynski,
Time Life Records, U.S.A.
18. Ibid.
19. Huneker, op. cit., p. 301 .
20. Perahia, op. cit.
21. Walker, op. cit., p. 162.
22. Stanley Sadie, editor, The New Grove Dictionary of Music
and Musicians, 6th Ed., "Fryderyk Chopin," by Arthur
Hedley, J. E. Brown, Nicholas Temperley, and Kornel
Michalowskl.(London: Macmillan Publishers Ltd., 1980),
p. 303.
23. Herbert Weinstock, Chopin: The Man and His Music (New York:
A11=red A. Knopf, 1949), p. 276.
24. Walker, op. cit., p. 256.

CHAPTER

IV

CONCLUSION

This document provides a general study of Chopin's Sonata

no.3 in B minor, Op.58, including performance suggestions and a
background of the piece and the composer, general literature, and
a structural analysis of all four movements.
According to Sand:
Chopin's creation was spontaneous, miraculous. He
found it without seeking, without forethought. It came
suddenly-complete and sublime, as it sang itself in his
head during a walk, and he hurried to hear it himself by
giving it to the piano ... 1
George Sand's description of what Chopin went through 1n his
compositions provides valuable insights for performers in playing
Chopin's music. In performance, the pianist should follow an
instinctive excitement of the movement, while trying to achieve
the composer's intentions. In order to perform such a work with
numerous themes and keys convincingly, the performer needs
more time to prepare the piece. In Chopin's music, there is a
delicate balance, a sensitivity, and even a freedom that cannot
easily be taught, but must be felt with intuition. 2

72

73
For instance, the rubato style in Chopin's music cannot be forced.
It must come naturally, as a matter of feeling rather than
thought.
With this large work, it is impossible to perform it well
without having a basic knowledge of the formal structure. It is an
extremely helpful tool in understanding more of the piece.

REFERENCES

1.

Edgar S. Kelley, Chopin The Composer: His Structural Art

and Its Influence on Contemporaneous (New York:
Cooper Square Publishers, Inc., 1969), p. 118.

2.

Ernest Lubin, Chopin and His Circle: An Anthology of Music

by Chopin and His Contemporaries (New York: Amsco
Music Publishing Company, 1975), p. 13.

74

BIBLIOGRAPHY

BOOKS

Abraham, Gerald. Chopin's Musical Style. London: Oxford

University Press, 1 9 41 .
Bidou, Henri. Chopin. Translated by Catherine Alison Phillips.
New York: Alfred A. Knopf, 1927.
Brown, Maurice J.E. Chopin: An Index of His Works. London:
Macmillan Press, 1 9 7 2.
Cortot, Alfred. In Search of Chopin. New York: Abelard Press,
1952.
Dunn, John Petrie. Ornamentation in the Works of Frederick
Chopin. London: Novello and Company, Ltd., 1921.
Eigeldinger, Jean-Jacques. Chopin: Pianist and Teacher. Edited
by Roy Howat. London: Cambridge University Press, 1986.
Finck, Henry. Chopin and Other Musical Essays. New York: Books
for Libraries Press, 1972.
Gavoty, Bernard. Frederic Chopin. Translated from the French
by Martin Sokolinsky. New York: Charles Scribner's Sons,
1977.
Gide, Andre. Notes on Chopin. Translated from the French by
Bernard Frechtman. New York: Philosophical Library,
1949.
75

76
Gillespie, John. Five Centuries of Keyboard Music. New York:
Dover Publication, Inc., 1965.
Hadden James C. Chopin. London: J.M. Dent & Sons Ltd., 1921.
Harasowski, Adam. The Skein of Legends Around Chopin.
Glasgow: William Maclellan, 1967.
Hedley, Arthur. Chopin. London: J. M. Dent & Sons Ltd., 19 7 4.
Hipkins, Edith J. How Chopin Played. London: J.M. Dent & Sons
Ltd., 1937.
Holeman, Jan. The Legacy of Chopin. New York: Philosophical
Library, 1954.
Huneker, James. Chopin: The Man and His Music. New York:
Charles Scribner's Sons, 1901.
Jonson, G. C. Ashton. A Handbook to Chopin's Works. London:
William Reeves, 1908.
Kelley, Edgar Stillman. Chopin the Composer: His Structural
Art and Its Influence on Contemporaneous Music. New
York: Cooper Square Publishers, Inc., 1969.
Liszt, Franz. Frederic Chopin. Translated by Edward N. Waters.
New York: Vienna House, 1963.
Lubin, Ernest. Chopin and His Circle: An Anthology of Music by
Chopin and His Contemporaries. New York: Amsco Music
Publishing Company, 197 5.
Melville, Derek. Chopin: A Biography, with a Survey of Books,
editions, and Recording. London: Clive Bingley Ltd., 1977.
Methuen- Campbell, James. Chopin Playing: From the Composer
to the Present Day. London: Victor Gollancz Ltd., 1981.

77
Murdoch, William. Chopin: His Ute. New York: The Macmillan
Company, 1935.
Sadie, Stanley, editor. The New Grove Dictionary of Music and
Musicians, 6th ed., "Fryderyk Chopin," by Arthur Hedley,
J. E. Brown, Nicholas Temperley, and Kornel Michalowski.
London: Macmillan Publishers Ltd., 1980.
Samson, Jim, editor. Chopin Studies. Cambridge: Cambridge
University Press, 1988.
Samson, Jim. The Music of Chopin. London: Routledge & Kegan
Paul, 1985.
Schonberg, Harold C. The Great Pianist. New York: Simon and
Schuster, 1 963.
Thompson, Oscar, editor. The International Cyclopedia of
Music and Musicians, 11th ed., "Frederic Francois
Chopin," by William Murdoch. New York: Dodd, Mead &
Company, 1985.
Walker, Alan. Chopin and Musical Structure: An Analytical
Approach. Edited by Alan Walker. Frederic Chopin. London:
Barrie and Rockliff, 1966.
Walker, Alan, editor. Frederic Chopin: Profiles of the Man and
the Musician. London: Barrie and Rockliff, 19 66.
Weinstock, Herbert. Chopin: The Man and His Music. New York:
Alfred A. Knopf, 1949.
Wolff, Konrad. Masters of the Keyboard. Indiana: Indiana University Press, 1 990.
Zamoyski, Adam. Chopin: A New Biography. New York: Doubleday
& Company, Inc., 1980.

78
PERIODICAL AND JOURNALS

Harasowski, Adam. "An Overview of Chopin's Piano Music."

Piano Quarterly 11 3 (Spring 1981 ): pp.18-32.
Higgins, Thomas. "Chopin's Practices." Piano Quarterly 11 3
(Spring 1981 ): pp.38-41.
Higgins, Thomas. "Tempo and Character in Chopin." Musical
Quarterly 59 (January 1973): pp.106-120.
Jonas, Oswald. "On the Study of Chopin's Manuscripts."
Jahrbuch Chopin, 1956, pp.142-155.
Robert, Walter. "Chopin's Tempo Rubato in Theory and Practice." Piano Quarterly 11 3 (Spring 1981 ): pp.42-44.
Temperly, Nicholas. "Scorography: the Music of Chopin."
Musical Newsletter4 (Winter, 1974): pp.11-14.

79
UNPUBLISHED WORKS

Higgins, Thomas. "Chopin Interpretation: A Study of Performance Directions in Selected Autographs and Other
Sources."Ph.D. Dissertation, The University of Iowa,
1966.
Kiorpes, George A. "The Performance of Ornaments in the
Works of Chopin." D.M.A. Dissertation, Boston University,
1975.
Mcginnis, Francis Frederick. "Chopin: Aspects of MelodicStyle." Ph.D. Dissertation, Indiana University, 1968.

MUSIC SCORES

Chopin, Frederic. Sonata Op. 58. Edited by Alfred Cortot. Paris:

Edition Nationale, 19 30.
Chopin, Fryderyk. Sonatas. Edited by I. J. Paderewski. Warsaw:
Polish Music Publications, 1961.

80

DISCOGRAPHY

Perahia, Murray. Program Notes. Chopin Sonatas. Murray Perahia

Columbia 32780, 1974, U.S.A.
Petazzi Paolo, translated by Martin Cooper. Program Notes.
Chopin Sonatas. Maurizio Pollini, Deutsche Grammophon
41 5346-2, 1985, Germany.
Reuling F. Karl. Program Notes. "Chopin Sonata No.3," Concerts
of Great Music: The Romantic Era. Witold Malcuzynski,
Time-Life Records, 1968, U.S.A.
Robison, J. Program Notes. Chopin Sonatas. Wladyslaw Kedra,
Westminster 18882, U.S.A.
Stanley Charles and Werner Ernest. Program Notes. Chopin
Sonatas. Guiomar Novaes, Vox 7360, 1952, U.S.A.
Wright A. Elizabeth. Program Notes. Chopin: The Sonatas and
Mazurkas. William Kapell, RCA 5998, 1987, U.S.A.