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

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Ex. 15. Beethoven: Piano Sonata in C-sharp minor, Op. 27 No. 2. III. Presto agitato, bars 21-33. # # & # # œ ? # # # # . ˙ œ . œ œ œ p œ œ œ œ œ œ œ œ œ œ œ œ œ œ # & # # # 24 ? # # # # 27 # & # # # # œ # œ J . 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 J 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 J . œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ cresc. œ œ J 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 J # œ œ œ J 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 œ œ œ œ œ œ œ. ‹ œ œ J ‹ œ œ œ J œ œ œ. œ œ. œ 1817 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 S S 30 # # & # # Ÿ~~~ # œ œ œ n ˙ . # œ n ˙ . Ÿ~~~~ ? # # # # œ œ œ œ œ œœ œ œ œœ œ œ œœ œ ˙ ˙ n ˙ n ˙ S n œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‹ œ # œ ‹ œ ˙ . ‹ œ ˙ . S S œ œ # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ n ˙ œ S œ œ œ œ œ œ œ ƒ n ˙ p œ Œ & ˙ ˙ œ 47
II The Sonata Year Ex. 16. Schubert: Allegro in F-sharp minor (D570), bars 40-57. # & # # Œ ‰ j œ œ . ? # # # œ œ œ œ œ œ œ œ p œ œ . œ œ . ‰ j œ œ . œ œ œ œ œ œ œ œ j œ œ . œ œ j œ œ œ œ œ œ œ œ œ œ # # & # 46 ? # # # œ œ J œ œ 52 # # œ. œ. & # œ œ ? # # # œ œ J œ œ n œ œ œ œ œ œ ‰ œ. œ J œ œ œ œ œ œ n œ œ œ œ # œ n œ œ # œ n 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. œ œ. œ œ ‰ œ J œ œ œ œ œ œ # œ œ œ . œ . ‰ j œ . œ œ œ œ œ œ n œ œ œ œ # œ n œ œ # œ n 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 ‰ j œ ‰ j œ œ œ . œ œ œ œ œ œ n œ œ œ œ. ‰ œ. œ J œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ J # œ œ œ œ œ œ œ œ n n ˙ ƒ n n ˙ n ˙ ≈ p 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 œ œ œ œ œ œ # œ œ œ n œ œ n œ n œ œ r ≈ ‰ Œ n œ & There is one more piano sonata ascribed to 1817: the Sonata in B major (D575). Although begun in August, the date of completion is uncertain, partly because it seems that, on this occasion, Schubert took an unusually long time revising his original ideas – possibly not finishing the piece until some point during the following year. 30 The work is complete and unequivocally has four movements, as does the Violin Sonata in A major (D574) written during the same month of August. A further striking feature shared by these two works is that (at least in the original sketches of the piano sonata) the sequence of movements has shifted with the scherzo placed second and the slow movement third. The musical nature of this sonata, especially of its opening movement, is once again very symphonic, and it is very likely that its composition overlapped with his next symphony (No. 6, D589) begun in October 1817. The imposing unison dotted motif with which the piece begins is one of the many orchestral gestures found in this sonata. Another interesting feature is the four-key exposition – more often three-key in Schubert – and harmonic relationships which are audacious even for Schubert. 48
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Javier Arrebola The Unfi nished Pia
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ISBN 978-952-5959-34-5 (Paperback)
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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: II The Sonata Year Ex. 14. 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 108 and 109: Postlude As we have seen, to a grea
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Chronological Tables of Schubert’
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Notes: I The Beginnings: 1815-1816
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26 Newbould, Schubert: The Music an
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V Auf dem Weg zur großen Sinfonie:
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