Liszt retained the whole of his first subject whereas Chopin omitted the whole of the first
subject of his B minor sonata and most of the first subject of his B flat minor sonata.
Both composers retained the whole of their ‘second group’ in their recapitulation. (The
‘second group’ for Chopin consisted of his second subject and the ‘second group’ for
Liszt consisted of his second and third subjects.)
As to the Scherzo:
The Scherzo of Chopin’s B minor sonata is in the enharmonic key of E flat major. This
is also the key of the false exposition and the false recapitulation of the Liszt B minor
sonata. The second subject of the Finale of Choppin’s B minor sonata also makes an
enharmonic appearance in that key.
Liszt admired and played Chopin’s B flat minor and B minor sonatas. He particularly
admired Chopin’s B minor sonata.
Alkan’s ‘Quasi-Faust’ published in 1843
Alkan’s Grande Sonate ‘Les Quatres Ages’ contains his ‘Quasi-Faust’ movement in D
sharp minor.
Alkan’s first subject, in a mood of ‘storm of stress’, consists of an octave motif
prototypical of Liszt’s motif B followed by a hammerblow motif prototypical of Liszt’s
motif C. Liszt’s first subject, also in a mood of storm and stress, consists of Liszt’s
motifs B and C constrapuntally combined.
Alkan’s second subject, in a cheerless mood, is a lyrical tyransformation by way of
augmentation of Alkan’s hammerblow motif and recapitulates classically. Liszt’s third
subject, in a mood of restless joy leading to sorrow, is a lyrical transformation by way of
augmentation of Liszt’s hammerblow motif and recapitulates classically.
Liszt’s second subject bears a strong resemblance in mood to the subsequent triumphant
transformation by Alkan of Alkan’s second subject. In addition they share a strong
resemblance both thematically and in their piano writing.
Alkan’s second subject recapitulates classically in the tonic. Liszt’s second and third
subjects also recapitulate classically in the tonic. Both composers retained the whole of
their ‘second group’ in their recapitulation. (The ‘second group’ for Chopin consisted of
his second subject and the ‘second group’ for Liszt consisted of his second and third
subjects.)
Alkan’s Quasi-Faust movement contains a fugue (in eight parts) which represents the
redemption of Faust. The ‘Scherzo’ of Liszt’s Sonata is also a fugue (in three parts) but
the redemption of Faust occurs later, at the end of the Liszt Sonata.