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| Composer : | Schubert, Franz Peter (1797 - 1828) | ||||
| Instrumentation : | Harp | ||||
| Style : | Romantic | ||||
| Arranger : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Publisher : | MAGATAGAN, MICHAEL | ||||
| Date : | 1828 | ||||
| Copyright : | Public Domain | ||||
| Added by magataganm, 15 Feb 2013 Franz Peter Schubert (1797–1828) was an Austrian composer. In his short lifespan of less than 32 years, he was a prolific composer, writing some 600 Lieder, nine symphonies (including the famous "Unfinished Symphony"), liturgical music, operas, some incidental music and a large body of chamber and solo piano music. Appreciation of Schubert's music during his lifetime was limited, but interest in his work increased significantly in the decades following his death. Franz Liszt, Robert Schumann, Johannes Brahms and Felix Mendelssohn, among others, discovered and championed his works in the 19th century. Today, Schubert is seen as one of the leading exponents of the early Romantic era in music and he remains one of the most frequently performed composers. Schubert's last three piano sonatas, numbered 958, 959 and 960 in Deutsch's catalogue of Schubert's complete works, are the composer's last major compositions for the piano. They were written during the last months of Schubert's life, between the spring and autumn of 1828, but were not published until about ten years after his death, in 1838–39. Like the rest of Schubert’s piano sonatas, they were mostly neglected in the 19th century. By the late 20th century, however, public and critical opinion had changed, and Schubert's last sonatas are now considered amongst the most important of the composer's mature masterpieces. They are part of the core piano repertoire, appearing regularly on concert programs and recordings. One of the reasons for the long period of neglect of Schubert's piano sonatas seems to be their dismissal as structurally and dramatically inferior to the sonatas of Beethoven. In fact, the last sonatas contain distinct allusions and similarities to works by Beethoven, a composer Schubert venerated. However, musicological analysis has shown that they maintain a mature, individual style. Schubert's last sonatas are now praised for their mature style, manifested in unique features such as a cyclical formal and tonal design, chamber music textures, and a rare depth of emotional expression. The three sonatas are cyclically interconnected by diverse structural, harmonic and melodic elements tying together all movements in each sonata, as well as all three sonatas together; consequently, they are often regarded as a trilogy. They also contain specific allusions and similarities to other Schubert compositions, such as his Winterreise song cycle; these connections point to turbulent emotions expressed in the sonatas, often understood as highly personal and autobiographical. Indeed, some researchers have suggested specific psychological narratives for the sonatas, based on historical evidence concerning the composer's life. Rondo. Allegretto – Presto. This lyrical rondo movement consists of almost relentless triplet movement and endless songful melody. Its form is a sonata-rondo (A–B–A–development–A–B–A–coda). The second thematic group is written in the traditional dominant key; however, it is very long, modulating through many different subdominant tonalities. The development section, in contrast, culminates in a long passage in C-sharp minor. This leads to a false recapitulation in F-sharp major, which then modulates to begin again in the home key. In the coda, the main theme returns fragmented, with full bar pauses, which lead each time to unexpected changes of key. This is followed by a concluding, agitated presto section, based on the final bars of the main theme. Although originally written for Piano, I transcribed this piece for Concert (Pedal) Harp. Sheet central : | Sonate (2 sheet music) | | |||
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