Journal of Schenkerian Studies, Volume 9, 2016 Page: 70
This periodical is part of the collection entitled: Journal of Schenkerian Studies and was provided to UNT Digital Library by the UNT Press.
Extracted Text
The following text was automatically extracted from the image on this page using optical character recognition software:
70 Journal of Schenkerian Studies 9 (2016)
One seeming exception is Wayne Petty, who in his 1999 article "Chopin and the Ghost of Beethoven"
states that Oster's article "remains the most important case study of Beethoven's effect on Chopin"
(283).3 It becomes immediately clear, however, that for Petty, "... Chopin's most serious engagement
with Beethoven's music appears not in the Fantaisie-Impromptu, but rather in the Bb-Minor Sonata, Op.
35, completed in 1839" (1999, 283). Moreover, using a genre-based argument he questions the presence
of Beethoven in Chopin's earlier music composed in Paris:
During Chopin's earlier Paris years, Beethoven had been a presence largely through his absence.
After Chopin settled in the French capital in 1831, the new works that he wrote were almost
entirely in genres that kept a safe distance from the Viennese master. Mazurka, polonaise,
nocturne, prelude, etude, ballade, the independent scherzo- not only were these genres closely
tied to Chopin's identity as Polish patriot and virtuoso pianist, they were also genres in which
Beethoven had provided no significant examples (283-4).
In the present article I shall focus on two other C#-minor works by Chopin that are possibly indebted
to Beethoven's "Moonlight" Sonata, the Lento con gran espressione, composed in Vienna in 1830 but
published (like the Impromptu) only posthumously, and the Nocturne, Op. 27, No. 1, published in 1836.
A certain aspect of the Lento, we shall see, is possibly indebted to another Beethoven Piano Sonata,
Op. 7; moreover, the connections between Chopin's Op. 27, No. 1 and Beethoven's Op. 27, No. 2 are
complemented by some interesting connections between Chopin's Polonaise, Op. 26, No. 2 (the trio
in particular), also published in 1836, and the Funeral March from Beethoven's Piano Sonata, Op. 26.
Proceeding in reverse chronological order from Nocturne to Lento, I shall begin by presenting
documentary, biographical, and circumstantial evidence suggestive of a Beethoven connection in general
(Lento) and a "Moonlight" connection, in particular (Nocturne). Next, still in reverse chronological
order, I shall turn to internal, musical evidence for a "Moonlight" connection in both works, leaving
exhausts the relationship between Chopin and Beethoven. Less technical or, from his perspective, less aesthetic questions simply
do not arise" (2011, 166).
This assessment of Oster's article is less than fair, if only because the relationships that he notes between the two composers
are far richer and more sophisticated than Kramer's brief reference may lead one to believe (2011, 164-65). But even accepting
the assessment as valid, its critical value is unclear. After all, Oster's "technical" perspective does not prevent one from asking
questions as: "How might a perceived resemblance between the Fantaisie-Impromptu and the finale of the 'Moonlight' Sonata
affect a Strindberg-like perception of the Chopin as an expression of emotional starvation?" (Kramer 2011, 166). Kramer seems
aware of this difficulty, for he immediately develops the notion "allegory of resemblance," the function of which, allegedly, "is to
nourish an idealist subordination of history to form" (2011, 216). Oster is indirectly accused of being "seduced" by this allegory
(2011, 168).
But this is a clear case of the straw man fallacy. Although Oster's article is not free of agendas and ideologies (as is, by
the way, Kramer's response to it)-for example to promote Schenker's cause, one is hard-pressed to find any evidence that its
purpose, overtly or covertly, is to subordinate history to form. The truth of the matter seems rather to be much simpler. Oster's
interests, including his most notable and admirable interest in "esoteric, analytically 'deep' relationships" (as derided by Kramer
on p. 169), are different from Kramer's.
3 Subsequently in the same paragraph Petty continues: "Those persuaded by Oster's arguments might easily read the story of
the Fantaisie-Impromptu as revealing not only Chopin's deep understanding of Beethoven's music, but also his keen sensitivity
to what distinguishes a work that is strongly original from one that is not" (1999, 283).
Upcoming Pages
Here’s what’s next.
Search Inside
This issue can be searched. Note: Results may vary based on the legibility of text within the document.
Matching Search Results
View four pages within this issue that match your search.Tools / Downloads
Get a copy of this page or view the extracted text.
Citing and Sharing
Basic information for referencing this web page. We also provide extended guidance on usage rights, references, copying or embedding.
Reference the current page of this Periodical.
Graf, Benjamin & Taycher, Ryan. Journal of Schenkerian Studies, Volume 9, 2016, periodical, 2016; Denton, Texas. (https://digital.library.unt.edu/ark:/67531/metadc1474258/m1/79/?q=eytan: accessed November 9, 2024), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; crediting UNT Press.