Classical Music | Piano Music

Frédéric Chopin

Scherzo No. 2 in b-flat minor, Op. 31  Play

Alexandre Dossin Piano

Recorded on 07/25/2005, uploaded on 01/10/2009

Musician's or Publisher's Notes

In contrast to the other composers in this program, Chopin's output was almost exclusively dedicated to solo piano works.  He wrote four Scherzos for piano solo. The Italian word Scherzo means joke, something light and happy. In Chopin's treatments of the form, only no. 4 has such a character - and it is the only one written in a Major key.  The Scherzo no. 2, written in 1837 (the same year Chopin wrote a great work in the same key: his second Piano Sonata), has such a modal ambiguity (b-flat minor/D-flat Major) that some publications refer to it as the b-flat minor Scherzo, while others as the D-flat Major Scherzo. The truth is, it begins in b-flat and ends in D-flat.     Alexandre Dossin

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Scherzo No. 2 in b-flat minor, Op. 31                     Frédéric Chopin

Chopin composed his second of four scherzos for the piano in 1837. It begins with a short motif based around the notes of the B-flat minor triad ending questioningly on its fifth. Colossal fortissimo chords then sound in resounding response. This introductory passage, vacillating between the keys of B-flat minor, D-flat major and F minor, and ending in the latter, breaks off in anticipation of the arrival of the scherzo’s main theme. Establishing firmly the key of D-flat major as the prevailing tonic, elegant passagework leads to the Scherzo’s beautiful con anima melody. The melody gradually unfolds over a lush harmonic accompaniment in the left hand. As is typical of Chopin, the introduction and melody are repeated again with variation.

Following a flourishing close in D-flat major, the trio section shifts to the key of A major. For this reason, it is better to consider D-flat major, instead of B-flat minor, as the key of the Scherzo. In sharp contrast, the trio begins with sostenuto chords with the faint reminiscent sounds of the Scherzo’s melody hidden within. A somber tune in F-sharp minor follows the sustained opening and becomes the centerpiece of the trio. The triplet flourishes that underlie this theme eventually lead the music to a beautiful and graceful passage of arpeggios over a descending bass line in E major. Like the scherzo, the trio is also repeated and upon its close leads into a transitory passage, built upon the prior F-sharp minor tune, and soon the return of the Scherzo. At the conclusion of the scherzo’s reprise, a sudden change back into A major for eight measures signals the arrival of the coda. Energetic and placing several of the scherzo’s motivic ideas in close proximity, the coda brings the scherzo to an exciting close.     Joseph DuBose