June 22, 2010
Piano Sonata No. 3 in b minor, Op. 58 by Frédéric Chopin
Chopin’s third sonata is a masterwork filled with pianistic elements, daring harmonies, experimental form, and a wealth of expressivity. In this four-movement work, references to other Chopin compositions and influences from fellow composers are found. At the same time, there is a progressive element; it looks forward to the heights which would be achieved by Chopin and later composers.
Chopin wrote the Sonata, Op. 58 in 1844, several months after the Berceuse, Op. 57. The Berceuse provides inspiration for the slow movement (Samson, Chopin 23). These works were written at a time when Chopin’s relationship with George Sand was coming to an end. These personal troubles, however, did not hamper his musical genius (Lederer 69). However, perhaps this turmoil is reflected in the ungraspable opening sections of the first movement and the tumultuousness of the final movement.
The sonata-allegro from was fathered by Haydn, mastered by Mozart, and experimented with by Beethoven. By the Romantic period, the sonata form was quite loose (Lederer 65 – 66). Chopin did not wish to be hampered by conventions; instead, he desired freedom in form. One of Chopin’s favorite of Beethoven sonatas is the Op. 26 in A-flat Major. He taught and played it quite often (Lederer 66). This sonata is highly unconventional. It begins with a set of theme and variations; not one of the movements is written a sonata-allegro form. It interchanges the middle movements; a scherzo precedes the slow movement, which happens to be a funeral march. Chopin’s two great sonatas (No. 2 in b-flat minor and No. 3 in b minor) are quite experimental with the sonata-al...
... middle of paper ...
...e mold of the sonata-allegro form; he is quite progressive with his harmonies, exploring distant keys and incorporating daring chromaticism. This sonata was written by Chopin at the height of his genius. It represents his triumph and mastery over form, harmonies, and the piano.
Huneker, James. Chopin: The Man and His Music. New York: Dover Publications, 1966. Print.
Lederer, Victor. Chopin: A Listener's Guide to the Master of the Piano. Pompton Plains, N.J.: Amadeus, 2006. Print.
"Piano Sonata No. 3 (Chopin)." Wikipedia, the Free Encyclopedia. Web. 21 June 2010.
Samson, Jim. Chopin. New York: Schirmer, 1996. Print.
Samson, Jim. The Music of Chopin. London: Routledge & Kegan Paul, 1985. Print.
Whiteside, Abby. Mastering the Chopin Etudes and Other Essays. New York: Scribner, 1969. Print.
Need Writing Help?
Get feedback on grammar, clarity, concision and logic instantly.Check your paper »
- Interviewer: Good day Ms. Brown and 1303 Music Appreciation Class. I will be giving an interview with Frederic Chopin also called the “Poet of the Piano”. I read that you come from a musical family. Is that true. Chopin: My family was not wealthy, but we had a strong appreciation for music. My mother could hold her own on the piano and my father played the violin and flute. I was even told that when I was a baby, when my mother would sing, I would be moved to tears. At what age did you pick up your first musical instrument and what was it.... [tags: personal narrative]
590 words (1.7 pages)
- Chopin pioneered the idea of creating a true artistic form from technical exercises, making his etudes historically important. Each etude has its own musical story to tell even though they adhere to a basic principle as a means to train and refine the performer’s technique. They are not simply dry and repetitive exercises like etudes prior to Chopin. There’s emotion behind his etudes that transcends from technicality and mere note playing to a true virtuosic artistry that is executed with delicate finery.... [tags: Musicians]
2341 words (6.7 pages)
- When comparing the piano works of Frederick Chopin and Robert Schumann, it is important to take into account the number of works each wrote in comparison to their other outputs as a composer. Chopin wrote almost exclusively for piano but this was far from the case with Schumann. The important piano works of Chopin include sonatas, preludes, etudes, polonaises, mazurkas, waltzes, nocturnes, scherzi, and ballades. Thematic development and structure are considered to be Chopin's weak points in his compositions and this is thought to be especially true in longer pieces such as the three piano sonatas.... [tags: Music]
628 words (1.8 pages)
- There were two great composers in the romantic music period. One was Frédéric Chopin and the other was Franz Liszt. They had great talent and composed excellent pieces that were really hard to play. These composers also had an interesting childhood. Chopin’s most heroic pieces were the polonaise in a flat major, the Nocturne in E flat major Op.9 No.2, and the Fantasie Impromptu Op.66. The Polonaise in a flat major was nicknamed the heroic. Chopin composed this piece when he was thirteen as a present for his teacher.... [tags: composer, music, childhood]
576 words (1.6 pages)
- Beethoven, Berloiz, and Chopin Beethoven was born in Bonn, Germany in 1770 to Johann van Beethoven and his wife, Maria Magdalena. He took his first music lessons from his father, who was tenor in the choir of the archbishop-elector of Cologne. His father was an unstable, yet ambitious man whose excessive drinking, rough temper and anxiety surprisingly did not diminish Beethoven's love for music. He studied and performed with great success, despite becoming the breadwinner of his household by the time he was 18 years old.... [tags: Papers]
2037 words (5.8 pages)
- In Beethoven 's music is an experience, an act of intellectual creation while released from the rigor of logical thought when the play unfolds its power. Romain Rolland, noted scholar and apologist of Beethoven, has said that in most of the German masters unconscious struggle of simultaneity, the subconscious and the will is given. All that is expressed musically is an interior movement. The psychic background permeates the way. "The best artists of our Latin race are usually equipped with plastic imagination (not to mention other features of cerebral order) whose mechanism is interposed as a screen between the impulse (elan) creator and musical expression.... [tags: Ludwig van Beethoven, Wolfgang Amadeus Mozart]
722 words (2.1 pages)
- Conception of Love in The Kreutzer Sonata Perhaps Tolstoy's short story, “The Kreutzer Sonata”, truly captures one definite conception of love, albeit a very negative one. To understand more what is brought to light in this story, we need to take a look at it, more importantly at the character of Pozdnychev. Pozdnychev has just spent several years in prison for the murder of his unfaithful wife, as we find out early in the story. His tale is a sordid one, as he relates his past life, before his wedding, the meeting of his wife, their marriage, their dreadful relationship up to the murder itself and the tribunal.... [tags: Kreutzer Sonata Essays]
841 words (2.4 pages)
- John Misto's The Shoe-Horn Sonata “On the other side of our barbed wire fence were twenty or thirty Aussie men – as skinny as us – and wearing slouch hats. Unlike the Japs, they had hairy legs. And they were standing in rows – serenading us.” John Misto created a written visual image that comes through in Act 1 Scene 7 (Page 52). This is brought up in the play when Bridie and Sheila are being interviewed by Rick (Host), they were originally talking about the conditions that they were in, how they were starved and the lack of nutrition, this then moves on to how they sang through the hunger at Christmas.... [tags: Misto Shoe-Horn Sonata]
1472 words (4.2 pages)
- “The Heavens Are Telling” from Franz Joseph Haydn’s The Creation does not appear at first glance to be structured in a sonata form. There are many elements an observant eye will see are missing if it searches for standard clues of a sonata form. However, the connections between the sections convey a modified sonata form, as do Haydn’s choices in regard to text setting. In this paper the deviations from the standard sonata form are illuminated, and the evidence which supports the labeling of this piece as being in a modified sonata form are presented.... [tags: Sonata form, Tonality, Key signature]
1167 words (3.3 pages)
- 1) a. By having Pozdnischeff tell his story to someone else, Tolstoy allows the reader to interpret the information for themselves. If the story was told as a first person narrative, the reader would not have had the comparison of values between Pozdnischeff and the other people on the train. b. Tolstoy describes many aspects of the people on the train. He seems to emphasize on their faces and their reactions to the statments spoken by each other character. He does this so that the reader may get a clear representation of who the person is both internally and externally.... [tags: Tolstoy Kreutzer Sonata]
1047 words (3 pages)