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

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# & # # # ? # # # # # & # # # 33 Ex. 5. Schubert: Piano Sonata in F minor (D625). Scherzo, bars 25-40. œ œ [ p ] œ ? # # ˙˙ # # . ˙˙ . œ œ œ œ œ # œ ˙ . ˙ . ˙ . œ œ œ œ œ # œ œ œ œ œ œ‹ œ ˙ . ˙ . ˙ . ˙˙ . ˙˙ . √ œ œ œ œn œ# œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œœ œœœ œ œ œœ œ œ œ √ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ # œœ œ œ œœ œ œ œ # œ‹ œœ œ # ˙ . ‹ ˙ . ˙ œ œ œ œ œ œ œ ˙ . ˙ ‹ ˙ œ œ nœ œ œœ 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 . 1818 œ œ Œ œ œ # œ Œ œ œ œœ # œ œ œ The last movement is an important achievement, probably the most effective of Schubert’s finales up to this point. Beethoven and very likely his Appassionata are again the reference point. Rapid figurations that vary within the forward driving momentum, continuity in spite of textural changes and a sense of determination make this movement a highly successful finale. Moreover, the interest of this piece goes beyond its own time, being sometimes strongly prophetic of the Romantics. A clear premonition of the macabre and almost atonal Finale of Chopin’s Piano Sonata in B-flat minor Op. 35 comes to mind when we hear Schubert’s opening bars (Ex. 6. and 7.) & b b b b b C ? b b b b b C Ex. 6. Chopin: Piano Sonata in B-flat minor, Op. 35. IV. Finale. Presto, bars 1-4. ? œn œ œ œ n œ œ œ œ œ œ œ œ œn œ œ œ n œ œ œ œ œ n œn œ œ sotto voce e legato œ œ œ œ b # œ œ œ œ œ œ œ œ & n œn œ œ œ b # œ œ œ œ œ œ œ œ œ œ œ œ b n œ œ œ œ œn œ œ œ œ œ œ œ b n œ œ œ œ œn œ œ œ œ œ # . ( œ) œ œ œ œ œ œn œ œ œ œ œ œ œ œ œ œ œ œn œ œ œ œ œ œ œ œ œ 61
III New Paths Ex. 7. Schubert: Piano Sonata in F minor (D625). IV. Finale. Allegro, bars 1-6. & b ? b b b b b b b 4 2 4 2 ? œ œ nœ œ œ œ œ œ œ œ nœ œ œ œ œ p œ œ œ n œ œ n œ œ œ œ œ œ nœ œ n œ œ œ œ œ œ nœ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ nœ œ n œ œ œ œ œ œ nœ œ n œ œ œ œ œ œb œ œ œ œ œ b œ & b œ œ œ œ b b œ œ œ œ b n œ œ œ œ œ bœ œ œ n œ œ cresc. œ œ œb œ œ œ As we can see, within a single year, Schubert’s inner mind and musical ambitions had considerably changed. From studying and emulating the classics, he had advanced to the beginnings of an awareness of his own potential in a field where his great predecessors seemed to have said the last word. It would surely take time, a lot of effort and no few disappointments, but he could now see the personal path that lay before him. The transitional 1818 and the direction that Schubert would take in the near future were neatly summed up at the end of the year. Back in Vienna, having long been starved of literature and intellectual companionship, he moved in with Mayrhofer. And almost immediately, probably at Mayrhofer’s suggestion, he turned his attention to two of the most important figures of the Romantic Movement: the Schlegel brothers. Exciting new doors were opening. 62 . . . . .
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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
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viii Caminante, no hay camino, se h
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me a greater awareness of what musi
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xii An immense amount of Schubert
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I The Beginnings own first symphoni
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I The Beginnings The Piano Sonata i
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I The Beginnings 6 The second movem
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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 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
Page 110: Chronological Tables of Schubert’
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Page 120 and 121: Notes: I The Beginnings: 1815-1816
Page 122 and 123: 26 Newbould, Schubert: The Music an
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V Auf dem Weg zur großen Sinfonie:
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The Unfinished Piano Sonatas of Franz Schubert Javier ... - Ethesis

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