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

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1819-1823 spiritual pantheism of Friedrich Schlegel, the latter had already converted to Catholicism and become a narrow-minded advocate of a religious rather than a spiritual conception of metaphysics; but the texts that Schubert chose to set, although not strictly contemporary, show his interest in the kind of alternative theology that the works of Novalis and the younger Schlegel expounded. At about the same time as Schubert was becoming immersed in these new philosophical ideas, he turned again to the piano sonata, though not very successfully. In April 1819, he began to write a piano sonata in C-sharp minor (D655) of which he only completed the exposition of the (supposedly) opening movement. Its meagre 73 bars do, at least, testify to Schubert’s continuing interest in the genre after the two incomplete sonatas of the previous year. The melodic invention is inferior (at least by Schubert’s standards, as can be seen from the first and second themes; Ex. 1. and 2.) and the motivic cells are rather unconvincingly developed. Schubert’s efforts, however, to integrate the on-going rhythmical motion of the opening theme into the other sections of the exposition are noteworthy: it was exactly this kind of thematic treatment – the exploiting of a musical cell’s inner possibilities for use as a cohesive factor in the longer-scale structure – that was one of the compositional techniques he needed to improve. Harmonically, this fragment is rather chromatic and contains some remarkably audacious moves, like the presentation of the third theme in F major (a tritone away from the home key of C-sharp minor; Ex. 3.) or the modulations into tonal regions as far removed as A-flat major (eventually enharmonized as G-sharp major; Ex. 4.). The proportions of the three-key exposition are also a bit ungainly with the second group a good deal longer than the first. The writing is at times virtuosic (Ex. 4.), but mostly experimental and, overall, the music seems to lack a clear direction. Ex. 1. Schubert: Piano Sonata in C-sharp minor (D655), bars 1-5. * # & # # # c œ œ œ œ œ ˙ œ . . ? # # # # c œ œ œ œ œ. œ. œ œ œ œ œ . œ f . ˙ 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 n œ # œn œ # œ œ œ J œ œ œ œ œ œ # œ œ n œ # œn œ # œ œ ‹ œ œœ œ œ œ j œœ ‹ œ œœ œ œ ‰ Œ œ œ œ œ œ œœ œ œ œ 67
IV Of Changes and Operatic Hopes 68 # & # # # ˙ œ # œ œ œ œ œ œ œ œ ˙ œ˙ π ? # # # # ˙ œ œ ? # # # # œ œ n ˙ # ˙ ˙ # œ œ œ œ n œ # œ n œ # œ œ œ ˙ 17 # & # # # # œ œ # ˙ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ n œ # & # # # 20 ? # # # # Ex. 2. Schubert: Piano Sonata in C-sharp minor (D655), bars 14-25. * n œ œ # ˙ ˙ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ 23 # & # # # 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 œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ # œ œ ˙ # & # # # j j n # n œ . # œ œ . œ ? # # # # n œ œ n œ œ œ œ n œ œ œ p œ œ œ œ œ # & # # # 49 ? # # # # n b n œœ n œ . j b b 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 œ œ œ œ œ œ œ ‹ œ œ # ˙ ˙ œ œ n 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 n œ # œ œ œ œ œ ˙ œ œ ˙ œ œ n œ # œ œ œ œ ˙ œ œ œ œ # œ œ œ n œ œ œ œ œ˙ œ # œ j œ œ œ n œ œ œ . . n œ. œ œ œ œ œ . . œ . n n œ j œ n œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ j œ ‰ Œ Ó œ J Ex. 3. Schubert: Piano Sonata in C-sharp minor (D655), bars 47-50. * n œ œ œ œ n œ n œ œ œ œ œ œ n œ # œ n ‰ Œ Ó n b n œœ # œ nœ œ œ n œ œ b œ n œ œ œ # œ œ n œ œ œ n œ j œ ‰ Œ Ó œ
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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
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I The Beginnings 10 Schubert’s fa
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I The Beginnings 12 As in the first
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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 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 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:
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