I would argue Scherzo no 1 fits the bill quite well. It gets pretty crunchy in places and is overall pretty morbid.
Chopin's prelude #2 - which I quite like. Here he is pushing pretty strongly - imo - and expanding the harmonic conventions of the time period. To me - it is a glimpse into modernism - which would start to come in some half-century later.A wonderful and difficult film by Bergman called "Autumn Sonata" uses this piece (a perfect choice) - which characterizes much about the emotional difficulty (explored so deeply - gut wrenching) in this film.
I love that movement. There's a bit in the crucifixion scene from Jesus Christ Superstar that has always sounded to me as though it were a quotation from, or at least an allusion to, that movement.
Would you mind expanding on this? I'd like to know more.
Listen to the piano part in this excerpt. I actually had not listened to either the Chopin Sonata or Jesus Christ Superstar for many decades, but I remember hearing them both a few months apart back in the 70's and thinking they were similar. On listening again, I think it's not a quotation, but maybe a bit of an allusion - Jesus' death and a movement from the "Funeral March" sonata. Maybe it's all in my head, but it struck me back then.
Thanks. I hear now what you are talking about. Haven't made that connection before though.Actually, I played JCS as a pianist many years ago. When it came to rehearsing Crucifixion, many of the musicians were like ? ? ? ? ? The score gives mostly outlines and cues, with a few chords at certain points. There is a lot that is left up to the individual musicians. I believe one is supposed to reference the recording to get into the right "sound" of the piece.
Not sure I agree chromatiscism equals dissonance, though. Chromatic is chromatic, dissonant is dissonant. Chromatic music can sometimes be dissonant, but also completely consonant.
Like Etude Op. 10 no. 2?