He gives the
A sharp in the bass six bars before the return of the first
motif. Klindworth, and other editions, prescribe A natural, which
is not so effective. This Scherzo might profit by being played
without the repeats. The chromatic interlocked octaves at the
close are very striking.
I find at times--as my mood changes--something almost repellant
in the B minor Scherzo. It does not present the frank physiognomy
of the second Scherzo, op. 31, in B flat minor. Ehlert cries that
it was composed in a blessed hour, although de Lenz quotes Chopin
as saying of the opening, "It must be a charnel house." The
defiant challenge of the beginning has no savor of the scorn and
drastic mockery of its fore-runner. We are conscious that tragedy
impends, that after the prologue may follow fast catastrophe. Yet
it is not feared with all the portentous thunder of its index.
Nor are we deceived. A melody of winning distinction unrolls
before us. It has a noble tone, is of a noble type. Without
relaxing pace it passes and drops like a thunderbolt into the
bowels of the earth.
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