Chapter 31

SCHERZO IN

C-SHARP MINOR,

OP. 39.

The four Scherzos, for passion and eloquence, rank among Chopin’s
most characteristic works, though it seems impossible to trace a
logical correspondence between the former classic meaning of the
term “Scherzo” and the contents revealed to us in these poems;
save that they are all in triple rhythm, hence on a dance-form
basis. As Niecks well says, “There is in them neither frolicsome-
ness nor humor”—such, for example, as we find in Beethoven’s
Scherzos—and he suggests that “Capriccio” might be a less mis-
leading designation. But, however inexplicable the title which
Huneker thinks Chopin may have applied in serious jest, there is
no doubt of the uncompromising dignity of the utterance, and
there is often a grim irony, a wayward scorn, which a liberal
interpretation might well consider attributes of humor. These
were marked traits in Chopin’s nature, and the Scherzos are
their revelation in terms of music. Schumann’s well-known com-
ment is apropos—“How is gravity to clothe itself if jest goes
about in dark veils?” This Scherzo (Presto con fuoco) is in
extended three-part form; the dominant note of the first part
being one of feverish agitation, which expresses itself in spas-
modic outbursts. The second part, with its broad cantabile
melody of a hymn-like character, reveals a calmer mood. The