It is usually in the first movement of a sonata that a composer either proves his skill or discloses his weakness. It is the first movements of these two sonatas that are brought into question before the courts of theory. They will be found to differ in at least two distinct if not radical features from movements of similar form by Beethoven. First, in the self-sufficient breadth and splendor of the second themes. Through these themes the composer speaks with his most intense meaning; on them the music soars to its highest, flaming pinnacle of beauty. This is obviously at variance with what we may call the classical procedure. Early in the evolution of the triplex form, a powerful tendency became evident to give to the first theme a vigorous, declarative character, and to the second a softer, more songful one. The first theme usually dominated the movement, and the development of its significance was the life and flow of the music. Generally the second theme, by reason of its contrasting character, served to accentuate the meanings of the first. Chopin handled his material otherwise. Though he preserved in a measure the conventional character of the two themes, the first undergoes no logical development, but whirls here and there in a sort of tempestuous chaos for which the second theme offers sublime justification. Except in the opening measures, the first theme is given no definite shape. Neither in the B-flat minor sonata nor in the B minor sonata does it reappear at the beginning of the third section. In the development section of both sonatas it is but a fragment tossed here and there on stormy harmonies. The result is of course a lack of logical coherence. But one may well ask if the hot intensity of utterance has not welded the notes and parts of these movements into a complete fusion, if there is need of logic in such molten music.