A-flat. The principal ideas in this
are also somewhat varied in their repetitions, and light and delicate
arabesques occur, which add to the charm. The slow part affords a
repose, after which the principal subject returns and the whole comes
to a brilliant ending by means of a coda. The entire piece is
extremely characteristic of Chopin's genius.

The Scherzo in B-flat minor is more analogous to a ballad than to any
one of the varieties of piece known under this title in the classic
works of Beethoven. It consists substantially of about four primordial
elements. First there is the principal subject, the characteristic
expression of which is due to the unexpected answer of the suggestive
query of the low notes by strongly accented chords. Still in emphatic
mood the second idea comes in (measure 48) with running work.

Then follows a delightful melodic idea (measure 64), which is repeated
in different keys no less than five times, the entire period extending
to forty-nine measures. The accompaniment of this charming melody is
thoroughly Chopinesque, consisting of arpeggio figures generally
covering the compass of a tenth. In spirit this passage is much the
same as that of the second idea in the Polonaise in C-sharp minor.
After the second idea there is a coda concluding this part of the work.
It is then repeated with a few very slight modifications. Then follows
the middle piece, a melody in the key of A, a novel relation of keys
which no doubt troubled the contemporaries of the composer more than it
need us, since the key of the piece is properly D-flat, the B-flat
minor predominating only at the beginning, and the first part, as well
as the last, closing in D-flat major. From this to the key of A,
counting by the keyboard, is a major third, and everybody knows that
the major third above or below is an agreeable relation of keys;
moreover, we have here the music to tell us. This middle part is
mystic and truly charming. Several other ideas meet us presently, one
of which, with triplets in the alto, is rather troublesome to play and
still more troublesome when it occurs again near the end of the piece.
Also some very pretty running work, charmingly supported upon a bass
containing considerable melody of its own. This running work is
afterward given considerable development, as also is the subordinate
idea already referred to characterized by the triplets in the alto, and
then the first part of the piece is r