And
noting that Chopin founded whole paragraphs "either on a single
phrase repeated in similar shapes or on two phrases in
alternation"--a primitive practice in Polish folksongs--he
asserts that "Beethoven does not attain the lucidity of his style
by such parallelism of phraseology," but admits that Chopin's
methods made for "clearness and precision...may be regarded as
characteristic of the national manner." A thoroughly personal
characteristic too.
There is virile clangor in the firmly struck octaves of the
opening pages. No hesitating, morbid view of life, but rank,
harsh assertiveness, not untinged with splenetic anger. The
chorale of the trio is admirably devised and carried out. Its
piety is a bit of liturgical make-believe. The contrasts here are
most artistic--sonorous harmonies set off by broken chords that
deliciously tinkle. There is a coda of frenetic movement and the
end is in major, a surprising conclusion when considering all
that has gone before. Never to become the property of the
profane, the C sharp minor Scherzo, notwithstanding its marked
asperities and agitated moments, is a great work of art.
Pages:
374
375
376
377
378
379
380
381
382
383
384
385
386
387
388
389
390
391
392
393
394
395
396
397
398