Chopin Sonata No. 2

Over our fall long weekend, I visited with a pianist friend who is working on Chopin's second sonata. So we could talk about the piece, I studied the score and listened to some recordings. Here's what I noticed.

1. This seems to be a work without satisfying climax. There is no plateau at which the music feels that it has arrived. Instead, Chopin keeps deflecting in another direction at the moment when we expect a convincing arrival.

(In his recording of the piece, Michelangeli plays it in such a way that the second theme in the first movement sonds like the climax. That is, the resolution is the arrival point in his performance.)

2. There is a general lack of contrast in the work. The themes are closely related within and between movements. All of the movements are in the tonic key except for one in the subdominant. The mood of the first movment is so similar to that of the beginning of the second that it almost feels like the first is continuing when the second begins. The energy and project of the first movement may not yet be done.

3. For a large sonata, the first movement exposition is actually really compact. Perhaps that adds to its tension.

Maybe its agitato marking is more about emotion to be supressed than expressed - a tension between the public and private selves.

The fragmented nature of the devlopment with its unadorned melody-in-octaves utterances can feel downright futuristic.

4. The second movement seems perhaps to indicate a contrast between male and female in a dance setting, perhaps indicated by register, tonality, and mood.

It seems to me that its loud dynamic markings might be of the restraining type, that is, "forte" might mean "only forte."

There is some lightness in this scherzo, but it is easily missed if the pianist doesn't play the passages in major with some joy. Those passages actually don't even sound particularly like they are in a major key if they are played with the same attitude as the minor sections.

5. The march and its return seem to have an inexorable quality. They are part of the public ceremonial acceptance of death, not an individual and personal outcry.

6. The overall impression of the entire sonata feels a little like an unraveling over the four movements.