In it he is
seldom poetical, frequently given to gossip, and at times he
hints at the mystery of life. The demoniacal element, the fierce
jollity that mocks itself, the almost titanic anger of Chopin
would not have been regarded by the composer of the Eroica
Symphony as adapted to the form. The Pole practically built up a
new musical structure, boldly called it a Scherzo, and, as in the
case of the Ballades, poured into its elastic mould most
disturbing and incomparable music.
Chopin seldom compasses sublimity. His arrows are tipped with
fire, yet they do not fly far. But in some of his music he skirts
the regions where abide the gods. In at least one Scherzo, in one
Ballade, in the F minor Fantaisie, in the first two movements of
the B flat minor Sonata, in several of the Eludes, and in one of
the Preludes, he compasses grandeur. Individuality of utterance,
beauty of utterance, and the eloquence we call divine are his;
criticism then bows its questioning brows before this anointed
one. In the Scherzi Chopin is often prophet as well as poet.
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