Piano Sonata No. 3 (Chopin)
The Piano Sonata in B minor, Opus 58 is the third and final sonata by Frédéric Chopin.
Emergence and dedication
The work was written in the period August to December 1844. The French edition appeared in July 1845 in the publishing house of Joseph Meissonier in Paris with the dedication "à Madame la Comtesse E. de Perthuis ". In the Chopin literature, it has so far been identified unanimously with a Countess Emilie de Perthuis (1769-1848), probably for a book about the same.
In truth, it is Comtesse de Élise Perthuis born of Grote (1800-1880), since 1819 the Count de Perthuis Amable de Laillevault wife ( 1795-1877 ), the adjutant of King Louis -Philippe I. Born in German entertained in her apartment, 12 Rue d' Astorg, a salon, where numerous artists and writers wrong. Early as 1836 had her husband devoted his Four Mazurkas, Op 24 Chopin. Great attention was her by the painter Henri Lehmann created portrait, which was exhibited at the Salon de Paris in 1842.
Construction
With the four sets she still follows the ( Adolf Bernhard Marx 1824-1845 discussed and defined ) sonata form of Viennese Classicism. Overall, the B minor Sonata concertante and is broader than conventional op 35 As in her A performance lasts about half an hour. As a reference recording is still after 60 years, the recording of Dinu Lipatti.
1st movement: Allegro maestoso, B minor, 4/4 As in the Piano Sonata No. 2 ( Chopin) denies the opening theme with reconciliation and final thoughts the actual implementation, while the melodious second theme - in a major key - the entire recapitulation is reserved.
2nd movement: Scherzo: Molto vivace, E-flat, 3/4 As in op 35 followed by a scherzo. In terzverwandten E flat major, it scurries on one side of the piano to ( syncopated ) fortissimo. The trio held resting on outer voices and leaves the scene of the most continuous in the districts middle voices. An emotional showpiece.
3rd movement: Largo, B major, 4/4 In mood, melody and rhythm floating accompanying the Largo resembles a nocturne.
" Before the piano theme begins in some fierce unison consequences and soft strange harmonic chords a strange preface is spoken. Also noteworthy is the type of E major middle section: the upper voice sings a wide, rihende on halbben scores manner that is rotated at a "line" as the church chorale of an interlude; the bass is also located on quiet Half the whole, the middle voice harft to in eighths broken triads with intermediate tones, the tones of the triad to sustain longer. "
4th movement: Finale, Presto, ma non tanto, agitato, B minor / B major, 6/8 Quite in contrast to op 35 is the final movement full of color and dissolved momentum. Massive double octaves with dissonant voices and modulating means open the Rondo with great gesture. Groups in the intermediate movement is doubled.
" The overall increase was wise calculated admirable in their noble virtuoso version, in the noisy nature Slavic exuberant, almost rampant, to cope with technical and design only of real masters of the piano. "