Chopinian Particularities of the Sonata for Cello and Piano, Op. 65

In this article, emphasis is placed on the formal analysis of the Sonata for Cello and Piano, Op. 65, as well as on the exposition of some of Chopin’s stylistic principles. A comparison between the Sonata for Cello and Piano, Op. 65 and the sonatas for piano solo composed previously by Chopin, reveals similarities in structure. All four compositions present the same quadruple arrangement, where the Allegro is followed either by a Minuet (Sonata Op. 1) or a Scherzo (Sonata Op. 2 and 3). The third section is a slow movement (Larghetto in Sonata No. 1, Marche funèbre in Sonata Op. 2, Largo in Sonata Op. 3), and the last movement consistently has a rapid tempo, Presto (in Sonata Op. 65 – Allegro). Chopin configured for himself a pattern of the genre for his sonatas, where he makes use of the particularities partially exhibited in the miniature genres. The genre allowed him to organize his musical thinking around some rigorous concepts, imposed by practice and tradition, which provided him with a starting point in the manifestation of his desire for innovation and the development of romantic creative fantasy. Sonata for Cello and Piano Op.65 was a test for his compositional skills in chamber music for two instruments. The choice of cello as a partner for piano could be explained by its special timbral expressivity, suitable for the themes characterized by warm melodicity and vibrant tune.