![chopin scherzo 2 form chopin scherzo 2 form](https://musescore.com/static/musescore/scoredata/g/5c405fdb324377e49c887553a94fd783b2da7b77/score_0.png)
The opening four notes return (three-longs-and-a-short, a famous enough rhythmic combination by 1837), and they become a kind of key which throughout the piece opens the door to a floodgate of tension and drama, as well as some pulsating Chopin poetics. After a pause, a very loud B-flat is followed by a long-held chord and in turn by four emphatic chords. Following a long-held B-flat, three soft and quick ascending notes lead to a longer note this is immediately repeated. In the present piece, the very opening gesture informs us that a drama is about to unfold. It is big and brawny, filled with magical harmonic coloration and huge pianistic flair it is also a little wordy (redundancy is one of the small flaws of each of the Scherzos), but that is a small price to pay for the boldness of spirit portrayed.
CHOPIN SCHERZO 2 FORM FULL
The B-flat-minor Scherzo, the second of that genre’s four, was composed in 1837 and bears the full imprint of the composer’s unique creative qualities. This peculiar form of Chopin scherzo, being the climax in the history of this form, became the inspiration for numerous subsequent composers, such as Bruckner and Mahler.Several of Chopin’s large works came in fours, though not composed consecutively: there are four Impromptus, four Ballades, and the same number of Scherzos. Usage of rondo technique (especially in Scherzo in B-minor) significant presence of an element of transformation, sonata antithetical themes and their metamorphoses lead to the perception of each of the scherzos as the synthesis of full sanata cykle, with the middle part being the equivalent of adagio.
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The three-part construction is only significant presence of the characteristics of this original form. The form is exemplified in the carol mentioned above ( Scherzo in B-minor), group of themes with rhythms of Italian siciliana and waltz (Scherzo in B flat-minor), philosophical chorale in Waldesian Scherzo in C sharp-minor, as well as ecstatic and lyrical song in Scherzo in E-major. They are filled with the peculiar expression, though composed in the form of da capo, in which full of movement, restless first and last parts contrast with the middle part. Each of Chopin scherzos has its own shade of expression and its own form variation. In what shall gravity be adorned, if joke wears dark veils? commented Schuman upon Scherzo in B-minor. Narrative freedom of Beethoven pattern, contrasts of rhythm, harmonics, and thematic material, elements of humour and peculiar playfulness, sarcasm and sneer, but also the tragic, were the inspiration for Chopin to create the new shape of the wholly individual composition and its subtle expressive design. It is characteristic that its shape crystallised on the basis of scherzo, which is a part of Beethoven sonata cycle. Being the result of searching of new forms to express romantic essence, it is at the same time meaningful augury of new Chopin style.
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Due to its sound shape and expressiveness, the first Chopin’s scherzo is different from the composer’s previous work. Stephen Cathedral, that the idea of Scherzo in B-minor, and its quotation from the most beautiful Polish carol Lulajże Jezuniu (Sleep my Child), originated. It was probably during this special day, on the Christmas midnight mass in Viennese St. In December, 1830, Chopin spent the Christmas Eve in Vienna, for the first time away from home.