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San Francisco Symphony - Masters of the Romantic: Trifonov Plays Chopin
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- Chopin: Piano Sonata No. 2 in B-Flat Minor, Op. 35 & No. 3 in B Minor, Op. 58.
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Piano Sonata No. 2 in B-Flat Minor, Op. 35 "Funeral March" - II. Scherzo
PillPack Pharmacy Simplified. Amazon Renewed Like-new products you can trust. This virtuoso feel to the writing continues to add brilliance to the Scherzo movement. As a double dose of heaven, in measure 81, marked piu lento , Chopin dissolves the sonata into a pool of melodic repose. We want to shout genius! A short transition at measure brings us back to the original, furioso Scherzo material and to the end. Just there Chopin reminds us as in a daydream of the purely spun melody and proceeds to end in the major key, forestalling the inevitable.
A shift at measure 15 to ascending chords occurs in the relative key D-flat major and in forte that elevates melancholy to nobility. At measure 31 Chopin moves seamlessly to yet another divine melody of which there is never a shortage. Its simplicity and serenity contrasts to, and complements, the march section as it carries us away to a dream-like place.
It is easy to do, but here the two voices, treble and bass, work as a duet, sometimes matching eighth for eighth. The voices, being far apart, make it easy for the melody to sing out without sacrificing the bass line. Chopin returns verbatim to the opening material A-B-A , and, unlike movements I and II, maintains his original minor key to the very end. Frederic Chopin was giving a recital in when he left the stage midway through his Piano Sonata in B flat minor.
Sonata in B Flat Minor, Op. 35 (The "Funeral March" Sonata)
The finale is entirely composed of running triplets in unison, right and left hand playing the same note an octave apart. Chopin surges in and out of harmonies related closely to B-flat minor and highlights particular notes in a given measure by hinting at snippets of melody. The music unfolds in a great arc of color, motion and sweep. The immortal accounts — Cortot, Kapell, Lipatti, Rubinstein, et al. A much later Jordan Hall performance, on Bridge , takes and is less secure.
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