Today we will discuss his opus 4, an independent scherzo, completed in 1851. His first piano sonata and his first symphony, among other works, show clear influence from Beethoven, and a great admiration for the man, as he should have. But this time the question has been answered-not with scorn but with complete accord, and the two hurtle together towards the scherzo’s triumphant conclusion.Yesterday we spoke at some length about the early history of Brahms and his classical, traditional bent. The coda is superbly written and conceived, for now the questioning phrase returns in an altered form followed by the answer. Here the music becomes increasingly agitated before reaching an impassioned climax and a return to the opening subject. And on another occasion: ‘It must be a charnel house.’ There follows one of Chopin’s most inspired lyrical themes (in D flat major, as is the majority of the scherzo) before a chorale-like central section. Wilhelm von Lenz, who studied the work with Chopin, reported that for the composer, ‘it was never questioning enough, never piano enough, never vaulted ( tombé) enough, never important enough’. The B flat minor scherzo, the most popular of the four, opens with a striking phrase which has been aptly cited as an instance of scorn in music: a timid question followed by a forceful put-down. The quartet of independent works he composed with this title between 18 has little to do with the earlier scherzos of Beethoven and Mendelssohn or with the derivation of the word ‘scherzo’ (meaning ‘joke’ or ‘jest’), although Chopin does preserve the A-B-A structure of the minuet and trio, the scherzo’s musical antecedent. The scherzo is another form extended and redefined by Chopin. The Scherzo No 2 in B flat minor, Op 31, was written and published in the same year as Chopin wrote the ‘Funeral March’ from his Piano Sonata No 2 in B flat minor, Op 35.
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