Three other unnamed piano compositions D.
The Impromptus are often considered companion pieces to the Six moments musicaux , and they are often recorded and published together. It has been said that Schubert was deeply influenced in writing these pieces by the Impromptus, Op.
The Opus 90 impromptus consist of four typical Romantic-era pieces, each with distinct elements. The name Impromptus was given by the publisher. The first Impromptu, written in C minor , is a set of variations on two themes. The piece continues into a march -like melody played first without accompaniment. The melody is repeated with a chordal accompaniment. At the end of this statement, the key is revealed: after a rising bass, the C-minor chord is played in root position.
This melody is actually based on the opening melody: the first three notes are spread out more in their intervals but the following three repeated notes remain.
Its lyrical quality, accompanied by triplets in the bass, contrasts with the march quality of the opening. An extension of this melody takes the final turn and repeats it several times in different registers. When the main theme returns for the first time, it has combined with the triplet pattern of the previous section.
Classical Passions. In Tune. Richard Baker's Favourite Piano Music. Chicago Symphony Orchestra. Piano Concerto No 1 in E flat major 1st mvt Composer. An Die Musik.
Later, a new pattern with straight non-triplet semiquavers is used as accompaniment, modulating to G minor and then an off-beat version asserts itself in quavers. This theme is based on the second theme, and therefore leads into the extension of the second theme again, this time in G major, using the end of the theme's tonic chord as an effective dominant chord transition into the main theme. The theme gradually dies away and leads to C major , resolving the piece's tension into tranquility.
This is the longest impromptu in this set. The section ends with two oscillating figures which act as an important bridge both here and later.
A quick ascending scale leads to the B section in B minor which however contrasting, is based rhythmically on the implied accents in the structure of the A section 1 23 1 23 This section is based on a figure alternating a widely spaced bare octave and an offbeat accented triplet. This serenade is a classic example of Schubert's outstanding lyrical facility, as well as his penchant for long melodic lines.
There is little interruption in the fluttering harp-like broken triad accompaniment, creating a tense contrast with the spacious and languid melody—an anticipation of Felix Mendelssohn 's Songs Without Words.
With no repeats, the melody develops into a shadowy and frequently modulating middle section before returning to its relaxed flow. The opening theme consists of cascading arpeggios followed by murmuring chordal responses. There is a subordinate theme , accompanied by the arpeggio figure, varied with triplets. This section ventures into the major mode towards its conclusion, but reverts to the minor.
The tempo marking is Allegretto. As the first and last pieces in this set are in the same key F minor , and the set bears some resemblance to a four-movement sonata , these Impromptus have been accused of being a sonata in disguise, notably by Robert Schumann and Alfred Einstein , who claim that Schubert called them Impromptus , and allowed them to be individually published to enhance their sales potential. This structure can also be interpreted as a sonata form without a development section , supporting the view of the four Impromptus as movements of a single sonata.
The B episodes contain a passage invoking a unique pianistic effect: the left hand presents short melodic fragments in the form of antecedent and consequent , steadily alternating between the upper antecedent, creating a crossing of the hands and lower consequent registers of the instrument; the right hand accompanies with an even flow of semiquaver arpeggios in the middle register; the sustain pedal further enriches the sonority, and the dynamics are mostly pianissimo , as often in Schubert's music.
This Impromptu is written in the standard minuet form. Its main section features a melody with chordal accompaniment. Alfred Einstein has mentioned another similar theme by Beethoven — in the third movement of the Piano Trio, Op. The main theme resembles a theme from the incidental music that Schubert composed for the play Rosamunde , which also appears in the second movement of his 13th string quartet.
Like the variations movement in the Trout Quintet , this modulation is achieved by following a tonic-minor variation with one in the flat submediant , following which a brief free passage modulates back to the tonic. It is written roughly in rondo form and contains a coda that further heightens the drama in this already intense piece.
The work is the most technically demanding of the Impromptus, employing a wide variety of keyboard writing, including scale runs at times in unison , arpeggios , broken chords , quick passages in thirds, and trills. They were conceived as a third set of four Impromptus, but only three were written.
They were first published in , edited by Johannes Brahms , although his name appears nowhere in the publication. There is space for doubts, though, as to whether these pieces actually constitute a cycle or they were arbitrarily united by Brahms the third piece was written on different paper sheets than the first two even though there were empty sheets after the second one.
For the same reasons, the dating of the third piece is rather problematic. Some musicologists refrain from naming these pieces Impromptus though, since whereas the Impromptus D. It seems that as the pace of our lives gets progressively faster, the music that many listeners are seeking is increasingly slow.
The Adagio series , presents over seventeen hours of the world's finest slow music, making it the largest such collection anywhere. Largo I is slightly more impressionist or atmospheric, featuring works by Debussy , Ravel , and Skryabin. Largo II contains some of the beautifully distilled, elegant classicism of Erik Satie , Chopin , and Beethoven. Adagio cantabile from Sonata No.
Impromptu No. Consolation No.
Intermezzo in A Minor from Fantasias Op. Andante from Sonata No. Liszt by Franz Schubert. Etude in E Major Op.
[PDF] + MP3 [Interpreted] + Video - Piano solo - Romantic * License: Public Domain Impromptu in B-dur. D (Op. , No. 3) Franz Peter Schubert 3 ( D. /3) in B-flat major Impromptu in As-dur (D (Op. 90 No4.)). Download and Print Impromptu No. 3 in B Flat Major (excerpt), Op sheet music for Piano Solo by Franz Schubert in the range of D3-B♭6 from Sheet Music.
La lugubre gondola First version by Franz Liszt. Et la lune descend sur le temple qui fut from Images Vol. On Wings of Song Op. Liszt by Felix Mendelssohn-Bartholdy. Pajaro triste from Impresiones Intimas by Frederico Mompou. Clair de lune from Suite bergamasque by Claude Debussy.