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

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# & # # # ? # # # # # & # # # 55 ? # # # # Ex. 13. Schubert: Piano Sonata in E major (D459). œ œ œ # œ II. Scherzo, bars 50-59. # œ Œ Œ œ œ > œ œ œ # œ œ # œ œ # œ œ n œ ˙ . ‹ œ ‹ œ œ œ ‹ œ ∑ > œ œ œ # œ œ # œ ˙ œ > ˙ . ‹ œ œ œ œ œ # œ dim. ∑ # œ > œ œ œ ‹ œ œ ‹ œ # ˙ . > œ œ œ œ œ œ > Œ œ˙ œ œ œ œ œ # œ œ > # œ ˙ ‹ œ > ˙ . œ œ œ œ œ œ # œ œ œ ˙ . œ œ œ œ œ > ˙ œ > œ ˙ 1816 The slow movement usually taken as part of this Sonata is an Adagio in C major (a typical Schubert shift to the major third below the tonic) and it shares the catalogue number D459A with another scherzo and a ‘finale.’ Some authors have suggested that the Adagio in C major (D349) and the Andantino, also in C major (D348) – most probably composed in the same month of August (1816) – were both at one time intended as the second movement for this sonata or, at least, as possible alternatives. 30 I also feel that these two pieces could easily be used as part of this sonata with even more interesting results than the more traditionally accepted Adagio (D459A). Whatever final thoughts Schubert might have had about the order or inclusion of these other two pieces, their music is most revealing. Both, being slow movements, contain central passages of pianistic virtuosity that draw our attention instantly: large leaps, dotted rhythms in positions not easy for the hand, and an unusually active left hand make these bars more demanding than traditional slow movements of the eighteenth-century (Ex. 14. and 15.). As in some of the other movements of the Klavierstücke, we can see Schubert struggling to integrate the contemporary in-vogue pianism into his own work – experimentation with the writing for a solo instrument on which he was competent but by no means a virtuoso. œ 19
I The Beginnings Ex. 14. Schubert: Andantino in C major (D348), bars 44-53. & b ? b b b b œ . œ n œ . . œ n œ . . œ œ . . œ. œ b . œ . n œ. n œ. œ Z Z . œ œ . . œ. œ . Z œ. œ . œ . œ . œ # . œ . œ # . j œ j œ œ n œ & b ? b b b b 47 # œ œ œ œ œ œ œ œ b j œ ‰ œ . œ. œ. # œ. Jœ œ .. œ .. œ œ n œ œ n œ .. œ .. œ œ .. œ f r r œ œ n œ œ œ œ . œ œ œ œ . 51 & b b b ? b b b œ œ œ œ œ . œ . j œ œ . œ œ # œ œ p ‰ ‰ # œ œ b œ œ œ œ n œ œ œ œ # œ œ œ œ œ œ œ œ œ . œ n . œ. œ . p n œ œ œ œ œ œ ‰ r œ œ # œ œ œ . œ n œ œ . . . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ œ œ . œ œ # œ. œ . œ . œ. œ. r b œ œ œ œ œ œ r n œ b œ œ œ œ œ œ n œ n œ œ r b œ œ œ œ œ œ n œ œ œ b œ œ œ œ œ œ œ œ œ n œ œ œ œ œ b œ . Ex. 15. Schubert: Adagio in C major (D349), bars 33-36. & œ. . b œ ? . œ. . œ . œ . . œ. œ . . œ . j œ . œ . œ n # . n bœ . . œ . œ . . p dolce œ. œ Ÿ œ j œ œ œ œ. ® œ. œ. . œ. R œ . . œ n # . n b œ . . œ . œ . . œ. œ b œ . . œ . j œ œ . . œ . . b œ œ œ . œ. # œ . . œ . œ . . œ . b œ . . œ n # . œ . . œ b . n Ÿ œ j œ œ . # œ œ œ œ œ œ ® œ œ . œ R œ . œ b œ . œ n # œ . œ b n The Adagio originally published as part of this sonata is a traditional movement in condensed sonata form. Perhaps more appropriate as a slow movement, it is also more vocal in character than the other two alternatives mentioned above. It is interesting that Schubert marks the movement as an Adagio in 3/8. This might seem at first contradictory, since 3/8 is a pulse inherited from faster Baroque dances such as the gigue. However, one of the most important features of this pulse is that it implies movement by complete bars. Thus, Schubert provides a slow tempo marking (Adagio) with a flowing pulse (3/8), giving the music a natural flow similar to vocal music. Pianistically, this movement is less adventurous than most of the other Klavierstücke. 20
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: I The Beginnings derived from the m
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
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# & # # # ? # # # # # & # # # 58 #
Page 84 and 85:
1819-1823 Catholic Church concernin
Page 86 and 87:
1819-1823 All of these exceptional
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1819-1823 The year 1823 would conti
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10 # ˙ . & ˙ . ? # # & ˙ f ? #
Page 92:
1819-1823 companion throughout. The
Page 95 and 96:
V Auf dem Weg zur großen Sinfonie
Page 97 and 98:
Page 99 and 100:
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Page 108 and 109:
Postlude As we have seen, to a grea
Page 110:
Chronological Tables of Schubert’
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101
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103
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105
Page 120 and 121:
Notes: I The Beginnings: 1815-1816
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26 Newbould, Schubert: The Music an
Page 124 and 125:
V Auf dem Weg zur großen Sinfonie:
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