![]() Scherzo: Allegro vivace - Trio: Un poco più lento Ī minor/major, Trio in F major Allegro vivace Inconceivable that Schubert would deliberately omit four measures here since there is complete conformity in the other variations." (Schubert: Sämtliche Klaviersonaten Band 2 (Tirimo), p. 241.) The First Edition is the primary source since the autograph itself is lost. The Wiener Urtext edition provides an emendation with the note: "Passage in smaller print - editor's suggested insertion - totally missing in, probably due to engraver's error when changing to new page. This discrepancy was first pointed out by Paul Badura-Skoda. 20-23 of the theme) are missing after measure 43. In most printed versions, the first variation is not exact: 4 measures (corresponding to m. The piece ends with a brief coda and a plagal cadence. It retains the focus on D♭ from the previous variation, as well as minor key sections, tying together the movement. The final variation, back in C major, is comparatively simple, with repeated chords in eighth note triplets and a pastoral quality. ![]() This note prepares the key change to the submediant, A♭ major, in variation four, a virtuosic run of fast 32nd notes that makes heavy use of chromaticism and idiomatic pianistic figurations. The bleak, dramatic third variation is in the parallel minor, with a remarkable use of dissonance and a focus on the minor second D♭. The second variation is an energetic, liberally ornamented scherzando with ongoing chromatic and minor touches. The first variation introduces an eliding chromatic figuration that accompanies the otherwise largely unaltered theme. 3 in B♭, D 935 (even including key relationships), and is typical of late classical works in general. This format, which avoids tonal monotony and produces a sense of departure and return, is identical to that of Schubert's Impromptu No. The variations generally undergo progressive rhythmic subdivision, with a parallel minor variation followed by a key change that prepares a conclusive return to the tonic for the final variation. The second movement comprises 5 variations on a simple 32-bar, two-section theme with elements of counterpoint and chromaticism. Andante poco mosso Movement II, ThemeĬ major Theme and Variations - Andante poco mosso The movement is generally quiet and tense, punctuated by dramatic climaxes and a stentorian coda. The relative major C, as well as the submediant F major, play major structural and dramatic roles in this and later movements. The atmospheric and expansive development, unusual for its time, is characterized by a sense of time dilation and wandering, and is an early example of this defining feature of Schubert’s mature works (see the developments of the late sonatas and the string quintet). The rhythmically similar first and second subjects of the exposition are not clearly separated structurally, a feature continued later in the ambiguous segue into the recapitulation. A plaintive, somewhat ominous pianissimo unison octave phrase ornamented with a mordent opens the work, with a contrasting chordal consequent. The first movement is composed in an atypical sonata form. ![]() This first sonata in particular marks a significant step toward the composer’s mature piano sonata style the format and several characteristic stylistic elements continue through the last. Conceived as a set, these works were composed during what was reportedly a period of relatively good health and spirits for Schubert, and are praised for their quality and ambition. Composed in May 1825 and entitled Premiere Grande Sonata, it is the first of three sonatas published during the composer's lifetime, the others being D.850 and D.894. 845 ( Op.42) by Franz Schubert is a sonata for solo piano. ![]()
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