sonata was taught – and took extensive notes. Most commercial recordings exclude the Grave from the repetition of the exposition, including those of Vladimir Ashkenazy, Arturo Benedetti Michelangeli, Murray Perahia, Maurizio Pollini, Martha Argerich, and Li Yundi; however, the recordings of Mitsuko Uchida, Yulianna Avdeeva and Janusz Olejniczak, among others, begin the repetition from the Grave. Other recordings, including those of Sergei Rachmaninoff, Arthur Rubinstein, Vladimir Horowitz, Evgeny Kissin, and Garrick Ohlsson, exclude the repetition altogether. II. Scherzo 6–7 minutes The second movement is a scherzo in E minor and time with no tempo indication. Anatole Leikin suggests that the absence of the tempo indication can be explained by the close similarities of this movement and the closing section of the first movement, including the prevalence of repeated octaves and chords in both movements, and the identical cadential phrases. Therefore, the absence of a tempo indication may suggest that there is no new tempo, but instead a mere change of notation (from triplets to triple metre). The movement is in the conventional scherzo-trio-scherzo form with the trio in G major. The scherzo's explosive rhythmic and dynamic power, as well as its furious insistence on repeated chords and octaves, places it in the tradition of the scherzo movements of Beethoven. However, unlike Beethoven, whose scherzos are transformed minuets, this scherzo has many defining rhythmic characteristics that make it a transformed mazurka instead. The trio, marked Più lento, has a songlike quality to it with its simple, sensuous melody. Following the return of the scherzo is a coda that is a condensed reprise of the trio and therefore ends the work in the relative major; other works of Chopin that also end in the relative major include the Scherzo No. 2 in B minor (Op. 31) and the Fantaisie in F minor (Op. 49). III. Marche funèbre: Lento 8–9 minutes The third movement, titled Marche funèbre, is a "stark juxtaposition of funeral march and pastoral trio". The movement is in B minor and time with the trio in the relative major of D. The tempo designation, Lento, was not added until after the sonata's publication in 1840. The movement opens with a melody consisting of just a repeated B for almost three measures accompanied by alternating B (without the third) and G major chords that ring like a funeral bell. This melodic device was also used as the backbone for the main