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To return to the example being considered,—it is in Three-part form (A, B, A, with Coda) the first part in the minor mode; the second part beautifully contrasted by being in B major—introduced by the implied enharmonic change from E-flat to D-sharp. This first part, remarkable for its passionate, headlong impetuosity, should dispel any idea that Chopin was a weak sentimentalist. Although of a delicate constitution he certainly had a fiery soul. The second part, sotto voce—note the feminine endings—reminds us of the muffled music of a military band as it passes by.
Barcarolle in F-sharp Major, Op. 60.
This composition, in many ways the most wonderful single piece we have from Chopin, is the quintessence of his genius. It seems, in fact, to contain everything: appealing melodies, wealth of harmony, bold dissonances (note in particular the 6th and 7th measures of the Coda), brilliant embellishments; and withal, it is written in a pianistic style which, for richness and warmth of color, is quite unsurpassed. It is also most sincerely conceived, intensifying the suggestiveness of the descriptive title. Would that objective program music were always so true to life and to the real nature of music! It is in free three-part form, the first part of a calm nature in which we are rocked on gently undulating waves; a more rhythmic second part where, as Kullak says, the bass seems to suggest the monotonous steadiness of oar-strokes; an interlude, marked "dolce sfogato," introduced by some delightful modulations, as if in a quiet nook the poet were dreaming of the beauties of love and nature; an impassioned return to the chief subject, together with a partial presentation of the middle portion; and finally a long and brilliant coda. The composition is unique in romantic literature for its power to arouse the imagination, or, as Schumann so well says, "to set people romancing for themselves."
Scherzo in C-sharp Minor, Op. 39.
The four Scherzos, for passion and eloquence, rank among Chopin's most characteristic works, though it seems impossible to trace a logical correspondence between the former classic meaning of the term "Scherzo" and the contents revealed to us in these poems; save that they are all in triple rhythm, hence on a dance-form basis. As Niecks well says, "There is in them neither frolicsomeness nor humor"—such, for example, as we find in Beethoven's Scherzos—and he suggests that "Capriccio" might be a less misleading designation. But, however inexplicable the title which Huneker thinks Chopin may have applied in serious jest, there is no doubt of the uncompromising dignity of the utterance, and there is often a grim irony, a wayward scorn, which a liberal interpretation might well consider attributes of humor. These were marked traits in Chopin's nature, and the Scherzos are their revelation in terms of music. Schumann's well-known comment is apropos—"How is gravity to clothe itself if jest goes about in dark veils?" This Scherzo (Presto con fuoco) is in extended three-part form; the dominant note of the first part being one of feverish agitation, which expresses itself in spasmodic outbursts. The second part, with its broad cantabile melody of a hymn-like character, reveals a calmer mood. The last note of each phrase is adorned throughout with lovely coloristic embellishments. After a return to the first theme, the second part is also repeated; this time with striking modulatory changes which strongly resemble the mood of Wotan's Farewell, in the third Act of Wagner's Valkyrie. A long and fiery coda of new thematic material closes the work. The major ending is like a shaft of light dispelling storm-tossed clouds.
Chopin's works are so instinct with genius and have proved to be so immortal that they may well be considered as ideal witnesses to the triumph of quality over mere quantity or sensational display. To-day, when we suffer from musical bombast, their refined message is of special significance.