Without
the inner freedom of its predecessor, it is more sober and self-
contained than the B minor Scherzo.
The fourth Scherzo, op. 54, is in the key of E. Built up by a
series of cunning touches and climaxes and without the mood depth
or variety of its brethren, it is more truly a Scherzo than any
of them. It has tripping lightness and there is sunshine
imprisoned behind its open bars. Of it Schumann could not ask,
"How is gravity to clothe itself if jest goes about in dark
veils?" Here, then, is intellectual refinement and jesting of a
superior sort. Niecks thinks it fragmentary. I find the fairy-
like measures delightful after the doleful mutterings of some of
the other Scherzi. There is the same "spirit of opposition," but
of arrogance none. The C sharp minor theme is of lyric beauty,
the coda with its scales, brilliant. It seems to be banned by
classicists and Chopin worshippers alike. The agnostic attitude
is not yet dead in the piano playing world.
Rubinstein most admired the first two Scherzi. The B minor has
been criticised for being too much in the etude vein.
Pages:
375
376
377
378
379
380
381
382
383
384
385
386
387
388
389
390
391
392
393
394
395
396
397
398
399