In this instance, however, the initial structure forms merely the general framework it is filled with music that unfolds in accordance with the laws of a peculiar drama, not form. It could also be seen as possessing the form of a scherzo with trio. The second Scherzo, beginning in B flat minor, possesses, like the first, a reprise structure. The opening gesture of the new scherzo might be termed Beethovenian, though with the opening chords of Chopin’s first Scherzo in B minor in one’s ears, one might also say that it is already a Chopinian gesture. It manifested itself à la Janus, with two faces: the deep-felt lyricism of the Nocturnes, Op. 27 and the concentrated drama of the Scherzo in B flat minor. The new style, all Chopin’s own, which might be called a specifically Chopinian dynamic romanticism, not only revealed itself, but established itself. This time, the farewell to virtuosity for virtuosity’s sake proved final. This time, however, it was not so short-lived and did not give way to a return of the style brillant, as several years previously. The second explosion of romanticism came at the turn of 1836.
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