Description: The Sonata No. 3 in b minor, Op. 58 was composed in 1844 and published in 1845. It retains the dramatic structuring inherited from the Classics. Here, as in Mozart and Beethoven, the composition – rendered coherent by means of differences, contrast and end-weighting – comprises four movements. Outwardly, the fourth movement, Finale, has the appearance of a rondo, but it proceeds in a balladic meter, and has the tone and spirit of a ballade. First, one is jolted from the contemplation of distant horizons, Thereafter, in a constant presto tempo and with the expression of emotional perturbation, this frenzied, electrifying music, runs to the end. Not even for a moment is this precipitous momentum reined in by the music of the episodes. And the main theme of the finale, its refrain, running ballade-like with the curtain raised, is transformed and grows in power.

Description: The Sonata No. 3 in b minor, Op. 58 was composed in 1844 and published in 1845. It retains the dramatic structuring inherited from the Classics. Here, as in Mozart and Beethoven, the composition – rendered coherent by means of differences, contrast and end-weighting – comprises four movements. Outwardly, the fourth movement, Finale, has the appearance of a rondo, but it proceeds in a balladic meter, and has the tone and spirit of a ballade. First, one is jolted from the contemplation of distant horizons, Thereafter, in a constant presto tempo and with the expression of emotional perturbation, this frenzied, electrifying music, runs to the end. Not even for a moment is this precipitous momentum reined in by the music of the episodes. And the main theme of the finale, its refrain, running ballade-like with the curtain raised, is transformed and grows in power.

Description: The Sonata No. 3 in b minor, Op. 58 was composed in 1844 and published in 1845. It retains the dramatic structuring inherited from the Classics. Here, as in Mozart and Beethoven, the composition – rendered coherent by means of differences, contrast and end-weighting – comprises four movements. Outwardly, the fourth movement, Finale, has the appearance of a rondo, but it proceeds in a balladic meter, and has the tone and spirit of a ballade. First, one is jolted from the contemplation of distant horizons, Thereafter, in a constant presto tempo and with the expression of emotional perturbation, this frenzied, electrifying music, runs to the end. Not even for a moment is this precipitous momentum reined in by the music of the episodes. And the main theme of the finale, its refrain, running ballade-like with the curtain raised, is transformed and grows in power.

Description: The Sonata No. 3 in b minor, Op. 58 was composed in 1844 and published in 1845. It retains the dramatic structuring inherited from the Classics. Here, as in Mozart and Beethoven, the composition – rendered coherent by means of differences, contrast and end-weighting – comprises four movements. Outwardly, the fourth movement, Finale, has the appearance of a rondo, but it proceeds in a balladic meter, and has the tone and spirit of a ballade. First, one is jolted from the contemplation of distant horizons, Thereafter, in a constant presto tempo and with the expression of emotional perturbation, this frenzied, electrifying music, runs to the end. Not even for a moment is this precipitous momentum reined in by the music of the episodes. And the main theme of the finale, its refrain, running ballade-like with the curtain raised, is transformed and grows in power.

Description: The Sonata No. 3 in b minor, Op. 58 was composed in 1844 and published in 1845. It retains the dramatic structuring inherited from the Classics. Here, as in Mozart and Beethoven, the composition – rendered coherent by means of differences, contrast and end-weighting – comprises four movements. The third movement, Largo, which might be termed the central movement of the Sonata, ushers in real feelings and reflections. It is replete with song. It has the shape and character of a nocturne, a song – actually an aria – of the night. A nocturne cantabile flows through its outermost sections. It is serious, focused, held back by a dotted rhythm. Chopin gave the middle section of the Largo to contemplative, self-absorbed music. Its waves seem immobile, though here too the narrative breaks off and we hear ‘unanswered questions’.

Description: The Sonata No. 3 in b minor, Op. 58 was composed in 1844 and published in 1845. It retains the dramatic structuring inherited from the Classics. Here, as in Mozart and Beethoven, the composition – rendered coherent by means of differences, contrast and end-weighting – comprises four movements. The third movement, Largo, which might be termed the central movement of the Sonata, ushers in real feelings and reflections. It is replete with song. It has the shape and character of a nocturne, a song – actually an aria – of the night. A nocturne cantabile flows through its outermost sections. It is serious, focused, held back by a dotted rhythm. Chopin gave the middle section of the Largo to contemplative, self-absorbed music. Its waves seem immobile, though here too the narrative breaks off and we hear ‘unanswered questions’.

Description: The Sonata No. 3 in b minor, Op. 58 was composed in 1844 and published in 1845. It retains the dramatic structuring inherited from the Classics. Here, as in Mozart and Beethoven, the composition – rendered coherent by means of differences, contrast and end-weighting – comprises four movements. The third movement, Largo, which might be termed the central movement of the Sonata, ushers in real feelings and reflections. It is replete with song. It has the shape and character of a nocturne, a song – actually an aria – of the night. A nocturne cantabile flows through its outermost sections. It is serious, focused, held back by a dotted rhythm. Chopin gave the middle section of the Largo to contemplative, self-absorbed music. Its waves seem immobile, though here too the narrative breaks off and we hear ‘unanswered questions’.

Description: The Sonata No. 3 in b minor, Op. 58 was composed in 1844 and published in 1845. It retains the dramatic structuring inherited from the Classics. Here, as in Mozart and Beethoven, the composition – rendered coherent by means of differences, contrast and end-weighting – comprises four movements. The third movement, Largo, which might be termed the central movement of the Sonata, ushers in real feelings and reflections. It is replete with song. It has the shape and character of a nocturne, a song – actually an aria – of the night. A nocturne cantabile flows through its outermost sections. It is serious, focused, held back by a dotted rhythm. Chopin gave the middle section of the Largo to contemplative, self-absorbed music. Its waves seem immobile, though here too the narrative breaks off and we hear ‘unanswered questions’.

Description: The Sonata No. 3 in b minor, Op. 58 was composed in 1844 and published in 1845. It retains the dramatic structuring inherited from the Classics. Here, as in Mozart and Beethoven, the composition – rendered coherent by means of differences, contrast and end-weighting – comprises four movements. The third movement, Largo, which might be termed the central movement of the Sonata, ushers in real feelings and reflections. It is replete with song. It has the shape and character of a nocturne, a song – actually an aria – of the night. A nocturne cantabile flows through its outermost sections. It is serious, focused, held back by a dotted rhythm. Chopin gave the middle section of the Largo to contemplative, self-absorbed music. Its waves seem immobile, though here too the narrative breaks off and we hear ‘unanswered questions’.

Description: The Sonata No. 3 in b minor, Op. 58 was composed in 1844 and published in 1845. It retains the dramatic structuring inherited from the Classics. Here, as in Mozart and Beethoven, the composition – rendered coherent by means of differences, contrast and end-weighting – comprises four movements. The second movement, Scherzo, brings a breath from another world – more from the realm of A Midsummer Night’s Dream than from the world of real, profound feelings. The lightness and airiness of this figuration gives a moment of respite. The Scherzo passes, like a dream or a distant memory.