Chopin: Sonata No.3 in B Minor, Op.58 (Fialkowska, Kissin)

Even among Chopin's late works, the Op.58 stands out as a work whose greatness is particularly hard to parse. It is characterised, especially in the first movement, by contrapuntal complexity, subtle motivic linkages that derive from the shape of melodic lines (see how 0:50 anticipates 1:33), and harmonic density; in the hands of a pianist whose grasp of its architecture and densely argued thematicism is anything less than perfect it comes across as oddly unproportioned. Chopin makes some bold structural decisions in the work: in the first movement's recapitulation, for example, Chopin nearly leaves out the first theme entirely, because it has been so aggressively explored in the development section (in passages that come close to being the best Chopin ever wrote), and because it resolves the long-term instability that the first theme group sets up. This sonata also features, in its last two movements, some of Chopin's most inspired textures: the third movement is a nocturne that sits right up there with the Arietta of B.’s Op.111 as an archetype of the transcendental/spiritual in music; and the fourth is a huge, exuberant, sonata-rondo, exhaled in a single breath, whose great technical challenges are almost easy to ignore because the whole movement sounds so damn good.

MVT I – Allegro Maestoso
EXPOSITION
00:00 – Theme Group 1, Theme 1 (Note that the contour of the first two bars, including the upbeat, is motivically linked to the Theme Group 2, Theme 1)
00:37 – TG1, T2
00:50 – TG1, T3. Canonically anticipating TG2, T1
01:10 – TG1, T4, cadential theme
01:33 – TG2, T1
02:20 – TG2, T2
02:52 – TG2, T3
03:23 – TG2, T4, cadential theme (Note motif in bass at 4:11, “closing motif”)
DEVELOPMENT
04:16 – Development of closing motif + TG1, T1. Note extensive use of counterpoint
04:56 – Sequential treatment of TG1, T1
05:09 – TG2, T2 in Db, then Eb
05:57 – Spare, imitative contrapuntal treatment of TG2, T2, building in intensity
06:21 – TG1, T4
RECAPUTILATION
06:41 – TG2(!), in B. Note how Chopin changes numerous rhythmic/melodic details throughout the recap
09:15 – Codetta

MVT II, Scherzo: Molto vivace
09:41 – Scherzo (Note the structural link between with the trio in the melodic outline in RH of the first two bars of the scherzo – it mirrors the top voice of the trio)
10:17 – Trio
11:51 – Scherzo

MVT III, Largo
12:28 – Introduction
12:52 – A Section
14:13 – Transition
14:56 – B Section. A beautiful section, improvisation-like, intricately voiced, with a theme like a plagal embrace built around the notes of the tonic triad
18:31 – Transition
19:22 – A Section, with decoration
20:02 – Transition
20:38 – Coda

MVT IV, Finale: Presto ma non tanto
21:37 – Introduction
21:46 – A Section [triplets]. Note that the opening melody’s movement from the F# to D is based on contour of m.2-3 in Mvt 1
22:29 – B/1 Section
22:53 – B/2 Section
23:16 – A Section [4/3 polythythm]
24:02 – B/1 Section. Note the use of the enharmonic D#/Eb switch, already used extensively in the Scherzo
24:27 – B/2 Section, with a dramatic extension at 24:42 to move back into B min
25:07 – A Section [Semiquavers]. Note how the melody is now unadorned, for a more brutal, direct presentation
25:58 – Coda

[AshishXiangyiKumar]

Fialkowska:
00:00 – Mvt 1
09:41 – Mvt 2
12:28 – Mvt 3
21:37 – Mvt 4
Kissin:
26:40 – Mvt 1
36:22 – Mvt 2
39:06 – Mvt 3
49:19 – Mvt 4

I've heard many good recordings of the Op.58, and some with great individual movements, but there are very few recordings I'm familiar with which are totally and miraculously satisfying. Fialkowska and Kissin take very different approaches to resolving the knotty interpretative challenges the work. Fialkowska plays with stunning clarity and vigour, with crystalline touch and fine dynamic control, whereas Kissin approaches this more personally: his rubato is intense, his scales glittering and heady, the melodic arches perfectly balanced, and the Largo utterly still, poised, uplifting, with not a trace of superficiality.

[nemo]

I thought ballades were Chopin's most emotional works until I heard the first movement of this work. He was a gift to this world, truly.

[jjw]

2:17 The way that Chopin resolves the cadence in four different octaves of the same F# sounds absolutely exquisite

[caseym]

So stunning. As if Chopin is looking back over one shoulder at Beethoven while simultaneously looking ahead toward the epic late Romantic sonatas of Rachmaninoff.

[Schubertd]

2:36 what a wonderful moment for mankind

[SquidProj]

The theme at 12:52 is one of the best things I've ever heard on the piano. It paints a dreamy but also eerily melancholic landscape. Fialkowska's playing is so tender and expressive.

[simonprecheurllarena]

The third movement is one of the most beautiful piano pieces Chopin has ever written

[kell]

Nothing beats the coolness of the intro to this piece. Sometimes I come back to this just to listen to the intro.

[michaelcollins]

An absolute giant of a sonata, unquestionably one of the greatest pieces of music ever written, and Kissin, undoubtably one of the best musicians to exist on planet Earth.

[tfpp]

I performed this sonata for my senior recital fifteen years ago, and I've never heard anyone do what Kissin does at 54:10- at the final zany chromatic cascade, right at the "page turn" - he pulls back ever so slightly to match the "pesante placement" of the LH BM chord. It's unreal to me how exacting that microscopic nuance is. Absolutely brilliantly

[bono]

7:35 this is my morning alarm and every time I'm awaken by the melody, I am annoyed that I can't sleep anymore, but at the same time, I fall in love with the music once more.

[MajdBousaad]

Who else fell in love with the B note at the end of the measure at 22:18 ? Did Chopin know it will sound amazing? just how! this is so deep

[chainuser]

It boggles my mind how Chopin was able to create such masterfully crafted music. I'm a musician but I couldn't dream of composition talent like this.

[huathebard]

Fialkowska's playing is amazing. Chills from the opening bars.

[thecluelesscomposer]

14:56 I've always found it astonishing how some pieces of music can evoke a feeling of color inside you and you can go: Oh, this piece is red. Then there is this moment and the following section: it shines in all different colors.

[hariprasadsrinivasan]

It’s crazy how he wrote this work right after the Berceuse. They are so different!

[OrganDanai]

With heavy downpours in Singapore this morning and my little mint plant dying, these two very different renditions are exactly what the doctor ordered. Thanks Ashish!

[dihydrogenmonoxide]

There is something about that release of tension at 14:55 that is truly magical.

[Henry-uvxu]

The third movement is just absolutely gorgeous. Sombre yet sublime.

[NoahJohnson]

Every movement of this sonata is beautiful in its own way. What craftsmanship and genius is contained in this sonata!