minor, Op. 28 No. 14) and not a single rest or chord until the final bars with a sudden fortissimo B bass octave and a B minor chord ending the whole piece. In this movement, "a complicated chromaticism is worked out in implied three- and four-part harmony entirely by means of one doubled monophonic line"; very similarly, the five measures that begin J. S. Bach's Fugue in A minor (BWV 543) imply a four-part harmony through a single monophonic line. Garrick Ohlsson remarked that the movement is "extraordinary, because he’s written the weirdest movement he's ever written in his whole life, something which truly looks to the 20th century and post-romanticism and atonality". Additionally, Leikin describes the finale as "probably the most enigmatic piece Chopin ever wrote", and Anton Rubinstein is said to have remarked that the fourth movement is the "wind howling around the gravestones". Chopin, who wrote pedal indications very frequently, did not write any in the Finale except for the very last bar. Although Moritz Rosenthal (a pupil of Liszt and Mikuli) claimed that the movement should not be played with any pedal except where indicated in the last measure, Rosen believed that the "effect of wind over the graves", as Anton Rubinstein described this movement, "is generally achieved with a heavy wash of pedal". Allusions The Piano Sonata No. 2 draws an allusion to the Prelude from Bach's Cello Suite No. 6 in D major, BWV 1012. A frequently repeated motif of Bach's Prelude is noticeably similar to the main theme of the first movement of Chopin's sonata; in addition, similarly to the Finale of Chopin's sonata, the Prelude is a perpetuum mobile with four groups of quaver triplets per bar. In addition, in the Finale, Chopin borrowed from Bach the craft of achieving polyphony through a monophonic line by the means of arpeggiated figures: in some respects, he even went further than Bach in this regard. In addition, the plan of Chopin's sonata directly follows that of Beethoven's Piano Sonata No. 12 in A major, Op. 26, which also is in four movements and features a Marcia funèbre slow movement: like Chopin's sonata, the slow funeral march movement follows the fast scherzo second movement. Chopin is usually regarded as the Romantic era composer least influenced by Beethoven; however, Beethoven's Op. 26 was reportedly his favourite Beethoven sonata, and he played and taught it more than