Piano Sonata No. 3 (Chopin)

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Frédéric Chopin, Piano Sonata in B minor, Op. 58, title page of the first edition (1845)

The Piano Sonata in B minor, Op. 58, is the third and final sonata by Frédéric Chopin .

Origin and dedication

The work was written between August and December 1844. The first French edition was published in July 1845 by Joseph Meissonnier in Paris with the dedication “à Madame la Comtesse E. de Perthuis”. In the Chopin literature she has so far been unanimously identified with a Countess Emilie de Perthuis (1769–1848), probably after a book about the same.

In truth it is Comtesse Élise de Perthuis b. von Grote (1800–1880), since 1819 the wife of Count Amable de Perthuis de Laillevault (1795–1877), the adjutant of King Louis-Philippe I. The native German had a salon in her apartment at 12 Rue d'Astorg , in which numerous artists and writers frequented. As early as 1836 Chopin had dedicated his Four Mazurkas op. 24 to her husband . Her portrait by the painter Henri Lehmann , which was exhibited in the Salon de Paris in 1842, attracted a lot of attention .

construction

With the four movements , it still follows the sonata movement form of the Viennese Classic ( discussed and defined by Adolf Bernhard Marx between 1824 and 1845) . Overall, the B minor sonata is more concertante and more conventional than op. 35. As with it, a performance lasts just under half an hour. The recording by Dinu Lipatti is still considered a reference recording even after 60 years .

Frédéric Chopin, Piano Sonata in B minor, Op. 58, beginning of the 1st movement

1. set: Allegro maestoso , minor h 4 / 4
As in the Klaviersonate # 2. Denies the input theme with reconciliation and closing thought the actual implementation . The recapitulation, on the other hand, begins veiled without the initial motif.

2. set: Scherzo: Molto Vivace It major, 3 / 4
. As shown in op 35 is followed by a Scherzo . In terzverwandten E flat major flits it on one side of the piano to ( syncopated ) fortissimo . The trio rests on sustained outer voices and leaves the action to the middle voices, mostly in quarters .

3rd movement: Largo , B major, 4 / 4
In mood, melody and floating accompaniment rhythm that resembles Largo a Nocturne .

“Before the piano theme begins, a strange preface is uttered in some heavy unison sequences and soft foreign harmonic chords. The nature of the middle movement in E major is also remarkable: the upper part sings in a broad, half-note manner that is followed by an interlude after a "line" as in the church chorale; the bass is also on calm halves and wholes, the middle part harps triads broken into eighth notes with intermediate notes, whereby the notes of the triad are held longer. "

- Otto Schumann

4th movement: Finale, Presto, ma non tanto, agitato , B minor / B major, 6 / 8
In contrast to Op 35 is the final set of full color and dissolved momentum.. Massive double octaves with dissonant and modulating middle voices open the rondo with great gestures. In the intermediate groups the movement is doubled.

"The overall increase is cleverly calculated, admirable in its noble, virtuoso version, in the intoxicating Slavic exuberance, almost unrestrained, technically and creatively only to be mastered by real masters of the piano."

- Otto Schumann

literature

  • Otto Emil Schumann : Handbook of piano music , 4th edition. Wilhelmshaven 1979, pp. 353-356.

Individual evidence

  1. ^ R. de Perthuis, Un episode de la vie de la Comtesse Emilie de Perthuis, 1769–1848, en 1813 , Paris 1881
  2. ↑ Life data based on the history of the Counts and Barons of the Grote family , ed. by Emmo Freiherr von Grote and Wilhelm Grotefend, Hanover 1891, part 2, family tree II B (digitized version)

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