The Unfinished Piano Sonatas of Franz Schubert Javier ... - Ethesis

More documents

Recommendations

Info

# # & # # n # œ ? # # # 63 ? # # # ? # # # 70 ? # # # ? # # # Ex. 7. Schubert: Piano Sonata in C major (D840). 18 III. Menuetto. Allegretto – Trio, bars 60 ff. [ f ] œ œ œ œ n œ œ n œ œ n œ œ œ œ n œ . œ œ œ œ. œ œ œ . œ ‰ Œ Trio # & # # ## 4 ? # # # ## 3 4 3 œ π œ # # & # ## . ? # # # ## . œ œ ˙ ˙ œ œ œ œœ n n œ œœ œ œœ œ œœ œ Œ Œ œœ # # œ . > œ œ œ œ œ œ œ œ œ . œ # œ œ . œ œ œ œ . j œ œ ˙ . ˙ . ˙ . & œ . œ œ œ œ # œ ˙ ˙ œ œ œ n œ œ œ œ œ œ decresc. œ œ œ œ œ Œ Œ œ. œ œ œ . œ œ œ œ œ n œœ œ œ ? n œ . œ œ œ n œ . œ œ œ n œ œ œ œ œ œ œ œ œ Œ Œ œ œ œ n œ . œ œ œ n œ . œ œ œ œ. œ œ n œ œ. œ œ œ Œ Œ œ œ ˙ . œ œ n # œœ œ ‰ œ œ œ œ Œ n œ . . œ œ œ œ . ˙ . ˙œ . œ œ . J œ œ . œ . œ J œ > j œ . œ ˙ œ . œ œ . œ œ . j œ œ ˙ . ˙ . ˙ . j œ œ. j œ . ‹ œ œ ˙ . # # > & # ## œ œ # œ ‹ œ œ œ . j œ œ œ ˙ . œ‹ œ œ œ . j œ œ œ œ Œ Œ F ? # # # ## œ . j œ Œ Œ œ œ œ ˙ . ˙˙ ‹ œ ˙ . . ˙ . œ . œ J œ > j œ . œ œ ˙ . œ œ œ œ . ˙ . ˙œ . œ œ . J œ œ . > ˙ . œ ‹ œ œ œ œ . ˙˙ . j œ ‹ œ # n # œ œ œ œ œ n œ œœ # # œ . > œ œ œ œ œ œ œ œ œ . œ œ œ œ˙. œ œ œ n œ œ . œ J œ . j œ . œ œ œ . j œ œ . œ ˙ . œ œ . j œ œ œ. œ . œ œ ˙ . ˙ œ œ ˙ œ ˙ fZ œ n n ˙˙ œ n ˙ œ œ . j œ œ œ . œ œ œ ˙ . ˙ . ˙ . n œ ˙ . # ˙ n œ # ˙˙ fZ ˙ ˙. . œ ‹ ˙ ˙ . n œ # ˙ ‹ ˙ œ . œ œ . œ J œ œ Í j œ . œ œ ˙ . œ œ ˙ ˙ ˙ ˙ œ œ . 1824-1828 œ. œ œ œ π . œ œ œ œ œ. œ œ œ . œ œ œ etc. etc. œ œ . œ œ . œ . œ . ‹ œ . œ p œ œ œ œ œ . œ . œ . œ . œ . ‹ œ . ‰ Œ ˙ . ˙ . ˙ . . . œ œ m œ œ œ ˙ . ‹ ˙ . 1. ˙ . ˙ . ˙ . . . 2. ˙ ˙ ˙ D.C. 91
V Auf dem Weg zur großen Sinfonie Finales were always a difficult matter for Schubert. As we have seen in many of his earlier piano sonatas, they were the most troublesome movements of all. This is the last of the unfinished ones. As with the minuet, a possible model may have been the same Beethoven Sonata in C major, since the thematic resemblances between the finales of both works are remarkable: the key, the triplet ascending scales, the same figured chords, and the rhythmic pulse (6/8 in Beethoven’s movement and 2/4 in Schubert’s, though virtually the same; Ex. 8. and 9.). & ? 6 8 6 8 Ex. 8. Beethoven: Piano Sonata in C major, Op. 2 No. 3. IV. Allegro assai, bars 1-8. j œ p œ . œ . œ . œ ‰ . œ . œ . œ œ ‰ Œ ‰ œ . œ . œ . œ . œ . œ . Œ ‰ Œ J œ. & œ . œ . œ J . œ . œ J . œ . œ J . œ J . œ œ. ‰ Œ j œ # œ. ‰ Œ ‰ ? œ . œ œ œ # . œ . œ n . œ. œ . ‰ Œ ‰ Ex. 9. Schubert: Piano Sonata in C major (D840). IV. Rondo. Allegro, bars 1-8. & 4 ? 2 4 2 3 j œ . œ œ œ œ œ œ œ œ œ p 3 j œ ‰ . œ ‰ œ J ‰ . œ œ œ j œ ‰ # œ J ‰ # œ œ œ . œ œ œ . j œ ‰ J œ n ‰ # œ œ œ . œ. œ. œ. j œ œ ‰ œ ‰ J > œ œ œ œ œ # œ Œ ‰ ‰ j œ œ . œ . œ . œ . œ . œ . Œ ‰ Œ j & œ. > œ n œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ œ œ J . œ . œ œ œ J . œ œ . j œ . œ œ. œ œ œ œ œ ‰ j œ j œ . œ œ œ . œ œ . Œ ‰ ‰ œ . œ . œ . œ . This movement is a Rondo in the tonic C major; yet, as the music develops, the structure seems more to resemble that of rondo-sonata form. Schubert presents the two sections of the ‘exposition’ in a conventional key relationship (tonic-dominant) and with some virtuoso passages (bars 136 ff.), after which he begins a ‘development’ with material from the first theme, now in A minor. After introducing a modal inflection of the theme in A major (thirty bars into the development), the music breaks off leaving no indication of how it should proceed. Sadly, the autograph of this movement is lost and we cannot know if the original manuscript would have given further clues about the composer’s intentions. Among others, I believe there are two factors that may help explain why Schubert left this movement (and perhaps also the Menuetto) unfinished. On the one hand, Schubert might have considered the light-hearted nature of the finale as rather inappropriate, or perhaps the thematic resemblances with Beethoven’s work were too 92
Page 1 and 2:
Javier Arrebola The Unfi nished Pia
Page 3 and 4:
ISBN 978-952-5959-34-5 (Paperback)
Page 6:
Contents Acknowledgements vii Prelu
Page 9 and 10:
viii Caminante, no hay camino, se h
Page 11 and 12:
me a greater awareness of what musi
Page 13 and 14:
xii An immense amount of Schubert
Page 15 and 16:
I The Beginnings own first symphoni
Page 17 and 18:
I The Beginnings The Piano Sonata i
Page 19 and 20:
I The Beginnings 6 The second movem
Page 21 and 22:
I The Beginnings another mass (D167
Page 23 and 24:
I The Beginnings 10 Schubert’s fa
Page 25 and 26:
I The Beginnings 12 As in the first
Page 27 and 28:
I The Beginnings The large number o
Page 29 and 30:
I The Beginnings piano. The fact th
Page 31 and 32:
I The Beginnings derived from the m
Page 33 and 34:
I The Beginnings Ex. 14. Schubert:
Page 35 and 36:
I The Beginnings Another interestin
Page 37 and 38:
I The Beginnings register (left han
Page 39 and 40:
I The Beginnings time. In 1816, his
Page 41 and 42:
II The Sonata Year sonatas for the
Page 43 and 44:
II The Sonata Year symbolic meaning
Page 45 and 46:
II The Sonata Year But now let us r
Page 47 and 48:
II The Sonata Year It is surprising
Page 49 and 50:
II The Sonata Year 36 Ex. 3. Mozart
Page 51 and 52:
II The Sonata Year I think there ar
Page 53 and 54: II The Sonata Year popularity calle
Page 55 and 56: II The Sonata Year The opening Alle
Page 57 and 58: II The Sonata Year Compared with th
Page 59 and 60: II The Sonata Year Ex. 14. Schubert
Page 61 and 62: II The Sonata Year Ex. 16. Schubert
Page 64 and 65: III New Paths 1818 The only way out
Page 66 and 67: 1818 presents us with a composer of
Page 68 and 69: 1818 The Finale is an Allegretto th
Page 70 and 71: physical and intellectual, of resid
Page 72 and 73: the end of the summer. A surviving
Page 74 and 75: # & # # # ? # # # # # & # # # 33 Ex
Page 76 and 77: IV Of Changes and Operatic Hopes 18
Page 78 and 79: 1819-1823 of Schubert’s music in
Page 80 and 81: 1819-1823 spiritual pantheism of Fr
Page 82 and 83: # & # # # ? # # # # # & # # # 58 #
Page 84 and 85: 1819-1823 Catholic Church concernin
Page 86 and 87: 1819-1823 All of these exceptional
Page 88 and 89: 1819-1823 The year 1823 would conti
Page 90 and 91: 10 # ˙ . & ˙ . ? # # & ˙ f ? #
Page 92: 1819-1823 companion throughout. The
Page 95 and 96: V Auf dem Weg zur großen Sinfonie
Page 103: V Auf dem Weg zur großen Sinfonie
Page 108 and 109: Postlude As we have seen, to a grea
Page 110: Chronological Tables of Schubert’
Page 114 and 115: 101
Page 116 and 117: 103
Page 118 and 119: 105
Page 120 and 121: Notes: I The Beginnings: 1815-1816
Page 122 and 123: 26 Newbould, Schubert: The Music an
Page 124 and 125: V Auf dem Weg zur großen Sinfonie:
show all

The Unfinished Piano Sonatas of Franz Schubert Javier ... - Ethesis

Create successful ePaper yourself

Delete template?

Save as template?