In 1848, Fryderyk Chopin gave a series of concerts throughout the United Kingdom, which constituted a characteristic phase of his artistic output during the final years of his life. These performances were significant not only for the British musical scene but also for the reception of his late works beyond France’s borders. The purpose of this paper is an analysis of the Cello Sonata in G minor, Op. 65, for cello and piano—one of Chopin’s rare works written for a bowed instrument—as an example of the extension of his musical language. It illustrates how the techniques implemented in the Sonata serve as a link influencing the development of Romantic-era chamber music.
The author focuses on the dialogue between cello and piano in the Sonata, Op. 65, which represents a mindful attempt to explore new forms of musical expression. This analysis is based on detailed score interpretation, with a focus on thematic relationships, chromaticism, and textural balance. Furthermore, the study reflects on the historical and performative context—in particular, the plausible performance of this composition during Chopin’s 1848 tour in the United Kingdom—to demonstrate the atypical role of the Sonata as an example of Romantic chamber music expressiveness.
The results indicate that this work transcends the typical boundaries of Chopin’s style, and it had a considerable influence on the development of the Romantic sonata—not only in terms of virtuosity but also as a testament to the partnership in musical dialogue between the two instruments.

Authors:
Wiktor Misiak, Wroclaw University, Poland

About the Presenter(s)
Wiktor Misiak is a musicologist and cellist, graduate of the Bacewicz Academy of Music in Łódź and the University of Wrocław. He specializes in Chopinology related to the cello and has performed with prominent musicians in major venues worldwide.

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