After Beethoven, the first composer of note was Robert Schumann, one of the founders of the so-called romantic school. In one of his letters he refers to Beethoven's choral symphony "as the turning-point from the classical to the romantic period." By reading, Schumann had cultivated his imagination, but his musical training was irregular; and, indeed, when he first commenced composing, practically nil. If his soul was stirred by some poem, or tale, or by remembrance of some dear friend, he sought to express his thoughts and feelings, and on the spur of the moment. In a letter he writes: "I have been all the week at the piano, composing, writing, laughing, and crying, all at once. You will find this state of things nicely described in my Op. 20, the 'Grosse Humoreske,' which is already at the printer's. You see how quickly I always work now. I get an idea, write it down, and have it printed; that's what I like. Twelve sheets composed in a week!" And thus short-tone poems, or a long piece, such as the "Humoreske," of irregular form, were the result. Now that was not the way in which he composed his two sonatas. He was two years, off and on, at work on the first, in F sharp minor (Op. 11), and eight on the other, in G minor (Op. 22). One may therefore conclude that the fetters of form were a source of trouble to him. And he can scarcely have felt very enthusiastic over his task; in 1839, after both sonatas were completed, he declared that "although from time to time fine specimens of the sonata species made their appearance, and, probably, would continue to do so, it seemed as if that form of composition had run its appointed course."
Of the two sonatas, the one in F sharp minor is the more interesting. The Aria is a movement of exquisite simplicity and tenderness, and the Scherzo, with its Intermezzo alla burla, has life and character. But the Allegro, which follows the poetical introduction, and the Finale are patchy, and at times laboured. It must not, however, be supposed that they are uninteresting. The music has poetry and passion, and the strong passages atone for the weak ones. There were composers at that time who could produce sonatas more correct in form, and more logical in treatment, yet not one who could have written music so filled with the spirit of romance.
The Sonata in G minor resembles its predecessor both in its strong and its weak points. Considered, however, as a whole, it is less warm, less intense. It is unnecessary to describe the two works in detail, for they must be familiar to all musicians, and especially pianists. A sympathetic rendering of them will always give pleasure; but in a history of evolution they are of comparatively small moment. It is interesting to compare them with the Fantasia in C (Op. 17), a work in which Schumann displayed the full power of his genius.
Chopin was another composer whose spirit moved uneasily within the limits of the sonata. The first which he wrote (we do not reckon the posthumous one in C minor)—the one in B flat minor—is an impressive work. There is a certain rugged power in the opening movement, and the Scherzo is passionate, and its Trio tender. The picturesque March owes much of its effect to its colouring and contrasts; while the extraordinary Finale sounds weird and uncanny. In the hands of a great interpreter the music makes a powerful appeal; yet as a sonata it is not really great. It lacks organic development, unity. The Sonata in B minor, though attractive to pianists, is an inferior work. The first movement, with exception of its melodious second theme, is dry, and the Finale belongs to the bravoura order of piece. The Scherzo is light and graceful. The slow movement is the most poetical of the four, though spun out at too great length. The real Chopin is to be found in his nocturnes, mazurkas, and ballads, not in his sonatas.
Among modern sonatas, the three by Brahms (C, Op. 1; F sharp minor, Op. 2; and F minor, Op. 5) claim special notice. With the exception of the Liszt Sonata in B minor, which, whatever its musical value, at least opens up "new paths" in the matter of form, the Brahms sonatas are the only ones since Schumann which distinctly demand detailed notice. The composer followed ordinary Beethoven lines; with exception of the Intermezzo of the 3rd Sonata, the number and order of movement resemble those of many a Beethoven sonata; while there is enlargement, not change in the matter of form. Brahms studied the special means by which his great predecessor, in some instances, sought to accentuate the unity between various sections of a sonata; he steeped his soul in the romantic music of Beethoven, Schubert, Chopin, and Schumann, and, in addition, trained his intellect to grasp the mysteries of counterpoint, and to perceive the freer modern uses to which it was put by the classical masters. Brahms' early acquaintance with Liszt opened up to him, too, the resources of modern technique. And thus, possessing individuality of his own, in addition to these inheritances and acquirements, Brahms wrote sonatas, which, though in the main on old lines, are no mere imitations, pale reflexes of his predecessors.
The 1st Sonata, in C (Op. 1), has for its opening theme one which has been said to resemble the opening theme of Beethoven's Op. 106. It will be well to look on this picture (Beethoven)—
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