Chominski assumes that at the moment when the key of B Major is reached in the development (m. 135) and when the motives from segments of the main theme enter (m. 137) we are already dealing with the recapitulation, which—in his interpretation—begins an abbreviated version of the first theme. Nonetheless, a different model of the sonata allegro becomes stabilized in these works; this model is defined by such features as: proportions between components of the form (exposition, development, recapitulation), thematic dualism, the particular character of the second theme, the tri-partite character of the exposition, the beginning of the recapitulation from second-theme material, the return to the first theme at the end of the recapitulation, the tonal relationships in the exposition and the recapitulation, the motivic unity of the themes in the first movement and, possibly, in the whole cycle. [40] The return and flourishing of the sonata occurs only in the 1860s and 1870s. 4 was written by Frédéric Chopin in 1828 (probably begun around July). The introduction of the second theme is both original and new. [Back], [56]. Reicha, Traite, vol. For instance a binary layout appears in the Sonata in B Minor (it occurs in Chopin’s earlier music; see Figure 6). 19 (1987: 233-234. 14 (1982). Therefore, we are dealing with an exposition that includes three themes and three keys (G Minor—B-flat Major—D Minor). [15] Newman, while describing the greatest sonata composers after Beethoven, i.e., Schubert, Schumann, Chopin, and Brahms, did not attempt to build a linear theory of growth, highlighting instead different approaches to the sonata form (e.g., “Process,” “Mold,” and “Unicum”). For instance in the Sonata in B Minor the point of the golden section falls on measure no. In the following passage the cadences are not simultaneous in the parts of the cello and the piano; at the same time, Chopin avoids closing musical ideas with cadences that consist of the major dominant resolving to the minor tonic. Individuation is linked with transformations of the musical language as well as with the individual dramatic conception of each sonata. The development reveals a clear division into two parts, with internal differentiation into phrases; it ends with a longer segment based on the function of the dominant to the main key, preparing for the appearance of the recapitulation. [42]. In the descriptions of Czerny and Reicha, however, the sonata form consisted of two sections with the second section further divided into two segments. Finally, it is still more difficult to point to the reasons for these transformations, and to answer the question of whether these transformations are a result of internal laws of development of musical style, or whether they emerged under the influence of external factors. Whereas in the Sonata in B-flat Minor a culmination follows a phase of increasing tension, then giving way to a gradual decrease of intensity, in the Sonata in B Minor a return of the second, cantilene-like theme provides a surprise at the moment of the expected culmination. Only in the 19th century, especially in the theoretical writings of A. [Back], [8]. The connection of the beginning of the Finale to the main motive of the whole sonata is more obvious; this connection was already pointed out by scholars researching Chopin’s sonatas. Rys życia i twórczości [Chopin. After the repetition of the material from the second theme and the epilogue, a reminiscence of the first theme appears in the closing passages of the movement; this reminiscence is, however, considerably abbreviated, and marked stretto (in the Sonata in B-flat Minor and in G Minor). [Back], [49]. Independently of the common model that provided a general, compositional framework, each of Chopin’s late sonatas is marked by its individual traits and constitutes a particular variant of the model. In considering the question of changes in the sonata-genre in Chopin’s music, the author strives first and foremost to reveal the relationships and tensions which arise between a repertoire of norms inherited from the past and the modification and extension of such old principles. The subject of the transformation of Chopin’s approach to the sonata form appeared in the writings of the above-mentioned scholars with an almost automatic repetitiveness. This regularity pertains to the clear division of the form, the schematic nature of the period structure and the tonal relationship between the themes in the exposition and in the recapitulation (major tonic—major dominant in the exposition and the unification of the key scheme in the recapitulation with a return to the main key). Protopopov indicates that one may notice numerous such examples in pre-classical sonatas, e.g., by Scarlatti. Protopopov, “Nowa interpretacja,” 27. That is why each of his sonatas has an individual dramatic form. Chomiński, Sonaty Chopina, 201. The reception history of Chopin’s sonatas, seen from the perspective of both musical criticism and musicology, could nowadays create a subject for a separate research paper. Since 1959 Helman lectured at the Institute of Musicology, University of Warsaw; since 1990 she has been a full professor there, between 1991 and 1997 she served as the Institute’s director. Only towards the end does the main key return with its parallel Major variant, G Major. [18]. In addition, the golden section plays a certain role in the structure of the exposition: the segment of the first theme is the shorter part while the segment of the second theme with the epilogue is the longer part; this proportion is the most exactly articulated in the Sonata in B-flat Minor where the exposition lasts for 104 measures, the point of the inverted golden section falls at 39,7 measure (104 times 0.382) and the second theme appears in m. 40. Zdzisław Jachimecki, Chopin. Obviously the proportions are changed even further if the repeats of the expositions are taken into account. In the closing section of the exposition, however, the second idea from the first theme appears in the key of E-flat Major in the antecedent and in the key of G Minor in the consequent. In contrast, the first segment is generally unstable. 4 was written by Frédéric Chopin in 1828 (probably begun around July). Włodzimierz Protopopov, “Forma cyklu sonatowego w utworach F. Chopina,” [The form of sonata cycle in the works by Chopin], in Polsko-rosyjskie miscellanea muzyczne, Zofia Lissa, ed. The tri-partite construction established by Marx, became a foundation for the “science” of musical forms later on.