![]() ![]() Overall, the first movement certainly looks forward to works of later composer in its variety and modulations. Two more theme follow in the exposition: the first puts on display Schubert’s penchant for curious modulations as E-flat minor is almost miraculously transformed into B minor, while the third takes up in the more conventional key of B-flat major. The opening Allegro begins with a clean-cut theme, somewhat reminiscent of Beethoven in its stressing of the tonic triad, yet unmistakably Schubert. ![]() ![]() It would be one of the few of his late compositions that Schubert would hear performed before his death.Ĭast in four spacious movements, the Piano Trio No. It was performed in January 1828 at a private party for the engagement of Josef von Spaun, a friend of Schubert’s who had long encouraged his compositional efforts. Indeed, Schubert himself thought the E-flat Trio to be superior to its companion piece. Of the two, however, the second in E-flat major is widely considered the more substantial composition. The two piano trios of 1827, like the other chamber of works of Schubert’s last years, are extensive compositions, stretching the boundaries of their form to vast symphonic proportions. The following year, he produced the somber song cycle Winterreise, the Impromptus, and the two piano trios while 1828, Schubert’s final year, saw the composition of the colossal C major Quintet for strings, the last piano sonatas, and the ethereal songs of Schwanengesang. 1826 saw the completion of the “Great” Symphony in C major, and the String Quintet in D minor (which included the variations on “Death and the Maiden”). Beset by the illness that would ultimately claim his life, Franz Schubert triumphed over his failing health during his final years to produce some of his most profound masterpieces. ![]()
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