Talk:Piano Sonata No. 1 (Chopin)

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As to the first movement, it's really most un-classical. The key contrasts between groups on which classical sonata forms are based are absent, and both groups of music are based around C minor. This is almost an innovation... (not one I personally think improves the piece, but that's my POV opinion.) Schissel | Sound the Note! 01:05, 3 October 2006 (UTC)

"Allegro maestoso in C minor — The most classical part of the work, it incorporates elements all but absent from other Chopin works, such as a slow theme beginning with a mordent, counterpoint, and long periods when the left hand carries the theme."

Since when are counterpoint and left-hand melodies all but absent in Chopin's works?

Some sayings are found ,"The sonata form has not the conquest over Chopin yet.As Chopin has not the conquest over sonata form yet." The playings of the work should be performed so softly and so sweetly. The A-flat major (the second thema of the "Allegro maestoso") is with much "dolce".----The DQN,macbeth 03:38, 25 October 2007 (UTC)
That doesn't really answer the question, though. In my opinion, it is not correct to say that counterpoint is "all but absent" from Chopin's work - Chopin was a major fan of J.S. Bach's music, and incorporated counterpoint into many of his compositions, a good example being his Ballade No. 4 in F minor. As for left-hand melodies, Chopin was excellent at these - one only needs to look at his Etude in C-Sharp Minor, Op. 25, No. 7 or his Prelude in B minor, Op. 28, No. 6 for examples of beautiful, cello-like writing in the left hand in Chopin's music - and these are some of his most well-known works. Indeed, it's little surprise that when Chopin finally got around to writing a chamber sonata for another instrument later in life, he chose the cello. I'm just going to go ahead and remove the offending statement from the page. CharlesJS (talk) 00:18, 10 May 2008 (UTC)