Chopin the Composer; His Structural Art And Its Influence On Contemporaneous Music

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This portion is repeated and closes again mA\) at measure 35. Here occurs a witty splice, the final measure (or measures — 35 and 36) being employed as the germ of a four-measure phrase, the sequence of which (a tone higher) is followed by an organ-point on the dominant. The long slur that practically encloses the entire work shows that from the phrasing alone one can obtain no definite idea of the structural divisions of a composition.
The Etude in C minor, Op. 10, with its well-known mes- sag
...e of grief and despair consequent upon the Polish na- tional disaster of 1831, has been frequently discussed and in- terpreted. It sounds at first, indeed, like an uncontrollable ebullition of righteous wrath, but this, too, will bear the closest inspection despite von Biilow's comment on its "chro- matic meanderings." After an introduction of 10 measures the first part (8 + 2 measures), closing in the tonic, is re- peated, closing in the dominant of the relative major {B\), V of E\)). The second part begins with the subdominant minor of the relative major (Gj = y^b minor — lY oi E\)).

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