Schubert* - Alfred Brendel - Sonates en sol Majeur ,D.894 en ut Majeur, D.840

Forberg , cop. Menuetto, extrait de l'op. Schubert Paris : H. Lemoine , []. Menuet op. Philipp Paris : A. Leduc , []. Bigeard , []. Fantaisie, andante, menuetto et allegretto, op. Sonate, pour piano op. Sonate fantaisie, andante, menuetto, allegretto.

Minuet and trio. Fantasia op. Fantasie, Andante, Menuett und Allegretto. Menuetto, pour piano. Extrait de la fantaisie op. Livres 1 Menuetto Aus Op. Documents sur "Sonates. D " 1 ressources dans data. Auteurs en relation avec "Sonates. D " 17 ressources dans data. Eugen D'Albert Howard Ferguson Fragment ends at measure 80 after the main theme returns in the B part of the menuetto.

Very unusually, the opening theme is immediately repeated, slightly embellished, in A major , and the reprise also begins in this key. Presumably the minuet would have then returned to A-flat major. The trio is in the parallel minor, notated enharmonically as G-sharp minor. Ernst Krenek outlined the structure of each of the work's four movements in notes that he contributed to a recording by Ray Lev in Krenek elaborates on how he composed a completion, included in the recording, for the unfinished movements.

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Customers who bought this item also bought. Schubert: Piano Sonata in A, D. Customer reviews. Top Reviews Most recent Top Reviews. There was a problem filtering reviews right now. Please try again later. I'm not fond of everything Alfred Brendel does, but in my opinion he is one the finest Schubert players of our time. Given that the D sonata and Wanderer Fantasy are among the most popular of Schubert's output for piano it's no surprise that Brendel has plenty of competition here - including from himself.

There are two other Brendel recordings of the D sonata on Philips, the pianist's long-standing label, and another reading going further back on Vox. The recital reading has a tension that comes with live performance; the studio reading has a calm and stateliness that is also appealing.

I like them both. I don't want to overly focus on the sound picture here, but the sonics in Brendel's Schubert series really leaves something to be desired. This diversion of the main theme's expected cadence leads to the haunted atmosphere of the B section, which is full of chromatic modulations and startling sforzandos. In the second appearance of the A and B sections, almost the entire music is shifted a semitone up, further cementing the importance of the ascending minor second in the sonata as a whole.

The focal plagal progression returns transformed at the end of the movement, with even subtler chromatic coloration and more distant modulations, touching on C major, before the piece finally ends in the tonic, the theme now weakened and given an illusory quality due to the evasion of cadences, free modulation, and tendency toward digression into troubled minor passages. The third movement is somber, quite distinct from the typical atmosphere of dance movements.

It is relatively conservative in its key scheme, moving to the relative major key and back to the tonic. The second A section is a transformation of the first, interrupted every four bars by a silent bar, creating a mysterious atmosphere.

This movement is written in 6 8 and in tarantella style and is characterised by a relentless galloping rhythm calling on demanding pianistic effects with frequent hand-crossing and leaps across registers. It employs the three-key exposition , a recurrent element in Schubert's style.

Later on, additional material from the exposition is developed, gradually building up towards a climax. This last passage is characterized by sweeping arpeggios with violent dynamic contrasts — a series of subito fortissimo decaying to piano, following the rise and fall of the melody.

On the last iteration, the melody hits triple forte at the zenith of its register and then plunges four octaves in a descending arpeggio, marked poco a poco diminuendo al pianissimo. An emphatic cadence then concludes the piece. The sonata begins with a forte , heavily textured chordal fanfare emphasizing a low A pedal and duple-meter stepwise diatonic ascent in thirds in the middle voices, followed immediately by quiet descending triplet arpeggios punctuated by light chords outlining a chromatic ascent.

These highly contrasting phrases provide the motivic material for much of the sonata. The second theme is a lyrical melody written in four-part harmony. The exposition follows standard classical practice by modulating from tonic A to dominant E for the second theme, even preparing the latter tonality with its own V — the only first movement to do so in the mature Schubert. This novel structure creates a sense of harmonic movement without actually committing to a thematic modulation, [23] and is one of the techniques Schubert uses to achieve a sense of scale in the movement.

The development proper is based on a scalar variation of the second theme heard at the end of the exposition. Here, in contrast to the striking modulatory excursions nested in the exposition, the tonal plan is static, shifting constantly between C major and B major later B minor.

After the development theme is finally stated in the tonic minor, the dramatic retransition has the unconventional role of only shifting to the major mode to prepare the recapitulation, rather than fully preparing the tonic key which in this case has already been established. The recapitulation is traditional — staying in the tonic, and emphasizing the tonic minor and the flat submediant F major as subdominant tonalities.

The coda restates the first theme, this time in a much more 'hesitant' manner, pianissimo and with further allusions to subdominant tonalities. This choice is not arbitrary — it is a final statement of the chromatically based ascending minor second motive that pervaded the movement, a motive that will be reversed into a descending minor second in the following movement. The A section presents a sparse, lamenting, poignant melody, full of sighing gestures portrayed by descending seconds.

The chromaticism, triplet emphasis, and modulatory patterns of this section are all reminiscent of the developments nested within the Allegro's exposition. The final bars of the movement feature rolled chords that prefigure the opening of the following Scherzo. The A section of the scherzo uses a playful leaping rolled chord figure that is rhythmically and harmonically reminiscent of the opening bars of the sonata.

The B section is dominated by the juxtaposition of two distant tonal realms. C major returns in the concluding A section, this time more tonally integrated into its A-major surroundings, by modulatory sequences. The ternary form trio in D major uses hand crossing to add melodic accompaniment to the chordal theme, and is rhythmically and harmonically based on the opening of the Allegro. This lyrical rondo movement consists of flowing triplet movement and endless songful melody.

The rondo's main and opening theme is taken from the slow movement of the sonata D. In the coda, the main theme returns fragmented, with full bar pauses, which lead each time to unexpected changes of key. This is followed by an agitated Presto section, based on the final bars of the main theme, and the sonata concludes with a bold evocation of its very opening measures, with an ascending arpeggio essentially an inversion of the descending figure from the Allegro's second phrase , followed by a fortissimo full statement of the opening fanfare in retrograde.

This movement employs a three-key exposition. In contrast to the previous sonatas, here the development section elaborates on several different themes from the exposition. It reaches a dramatic climax in D minor, in which the first theme is presented, fluctuating between D minor and the home key, in a manner similar to the parallel passage from the previous sonata see above.

The coda once again recalls the first theme, although only fragmentarily. The main section returns with a variant of the original accompanying rhythm. This time, the tonal scheme is more unusual: after a half cadence on the dominant, a sudden, mysterious harmonic shift introduces the remote key of C major.

This eventually turns into E major, and proceeds as before. The coda shifts to the tonic major but is still haunted by glimpses of the minor mode. The first part of the scherzo proper cadences not in the tonic or dominant but in the subdominant. This harmonic excursion eventually leads, through A major and a B diminished triad , back to the tonic and the opening section.

The finale has the same structure as that of the previous sonata. Many elements of this movement imply large-scale resolution of harmonic and thematic conflicts established earlier in this and even the two previous sonatas. This second theme uses the same melodic contour 5—8—7—6—6—5— 5—4—4—3 of the remarkable C-major modulation in the final A section of the second movement, implying further connotations of conflict resolution.

After an abrupt end to the second theme and a pregnant pause, a minor dotted-rhythm chordal theme in F-minor suddenly enters fortissimo , elaborating and modulating before sublimating into a pianissimo version of itself in the parallel major. This third theme is highly similar in rhythm and melodic contour as well as left-hand pattern to the tarantella of the C minor sonata, which may not be a coincidence when considering the overall high level of cyclic connection between the sonatas.

This theme evolves into a rhythmic segue that leads seamlessly back to the main theme of the rondo. After finally reaching this dominant preparation for the final time, the movement closes with an exceedingly triumphant and affirming presto section that totally resolves all dramatic conflicts in the sonata and the series.

The compositional process of the last sonatas can be studied owing to the almost complete survival of their manuscripts. According to these, the sonatas were written in two stages — a preliminary sketch the first draft and a full, mature final version the fair copy.

The sketches were written during the spring and summer of , possibly even earlier. The inner movements were sketched up to the final bar, while the outer, sonata-form movements were only sketched up to the beginning of the recapitulation and in the coda. In the sketches, passages from different movements or even different sonatas sometimes appear on the same leaf; such evidence suggests that the last two sonatas were composed in parallel, at least in part.

The final versions of the sonatas convey the impression of a single unit and were likely notated in close succession during September As compared to the sketches, the final versions are written much more neatly and orderly, with full notation and greater care for small details. A thorough study of the emendations that Schubert edited into the final versions, in comparison with his sketches, reveals many insights.

In his subsequent corrections, Schubert elaborated on his themes and expanded them, giving them more 'musical space'", in Alfred Brendel 's words. In the revision, Brendel continues, "proportions are rectified, details start to tell, fermatas suspend time. Rests clarify the structure, allowing breathing space, holding the breath or listening into silence". In addition to the differences mentioned above, numerous other, local modifications of the structure, harmony or texture were applied to the original material.

In these modifications, certain uniquely 'daring' original progressions were occasionally toned down, whereas in other places, the new version was even bolder than its predecessor.

Schubert composed his three last sonatas in close succession. He intended to publish them together as a set, as evident by the sonatas' titles. He has argued that the sonatas complement each other in their contrasting characters and demonstrated that the entire sonata trilogy is based on the same basic group of intervallic motifs.

In some cases, however, Schubert quotes a theme or passage from an earlier movement with little alteration, inserting it in structurally significant locations, creating an immediately audible allusion.

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6 thoughts on “Schubert* - Alfred Brendel - Sonates en sol Majeur ,D.894 en ut Majeur, D.840

  1. Oct 19,  · Schubert, Brendel - Schubert: Piano Sonata in C, D / Moments Musicaux, D - bluegrass.kalkisnilalmeenawhisperbringer.infoinfo Music Skip to main content EN Hello, Sign Alfred Brendel's approach to Schubert has much in common with Kempff's - both are focused on architecture, tend toward extroversion and play in a relatively straightforward (i.e. non-rhetorical) way. /5(6).
  2. Buy Schubert: Piano Sonatas No 18, D & No 15, D by Franz Schubert, Alfred Brendel from Amazon's Classical Music Store. Everyday low prices and free delivery on eligible orders.5/5(3).
  3. Cette sonate, isolée dans la production de Schubert, est écrite peu de temps après son dernier quatuor à cordes (n o 15), lui aussi en sol majeur. Dans l'esprit du compositeur, elle faisait suite aux trois précédentes sonates écrites en (n o 15 en ut majeur, inachevée, n o 16 en la mineur et n o 17 en ré majeur).Effectif: Piano.
  4. Discover releases, reviews, track listings, recommendations, and more about Schubert* - Alfred Brendel - Sonatas In G, D And In C, D at Discogs. Complete your Schubert* - Alfred Brendel /5(7).
  5. Find album reviews, stream songs, credits and award information for Schubert: Piano Sonatas in A minor and D major, D & D - Alfred Brendel on AllMusic -
  6. Wanderer-Fantasie en ut majeur op. 15, D () Alfred Brendel plays and introduces Schubert's late piano works 3 () [Leipzig]: EuroArts music international [éd Auteurs en relation avec "Sonates. Piano. Sol majeur. D " (17 ressources dans bluegrass.kalkisnilalmeenawhisperbringer.infoinfo)Author: Franz Schubert.

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