And
again we are at the de Maupassant crux. The work never could be
spared; it is Chopin mounted for action and in the thick of the
fight. The doppio movimento is pulse-stirring--a strong, curt and
characteristic theme for treatment. Here is power, and in the
expanding prologue flashes more than a hint of the tragic. The D
flat Melody is soothing, charged with magnetism, and urged to a
splendid fever of climax. The working out section is too short
and dissonantal, but there is development, perhaps more technical
than logical--I mean by this more pianistic than intellectually
musical--and we mount with the composer until the B flat version
of the second subject is reached, for the first subject, strange
to say, does not return. From that on to the firm chords of the
close there is no misstep, no faltering or obscurity. Noble pages
have been read, and the scherzo is approached with eagerness.
Again there is no disappointment. On numerous occasions I have
testified my regard for this movement in warm and uncritical
terms. It is simply unapproachable, and has no equal for
lucidity, brevity and polish among the works of Chopin, except
the Scherzo in C sharp minor; but there is less irony, more
muscularity, and more native sweetness in this E flat minor
Scherzo.
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