Classical Music | Piano Music

Franz Schubert

Impromptu Op. 90 No. 3 in G-flat Major, D. 899 Play Play

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Recorded on 12/27/2005, uploaded on 01/20/2009

Musician's or Publisher's Notes
Despite having a rather private career in which, "he never gave a concert, and, in fact, was lucky even to have a piano at his disposal for composing"[1] Austrian composer Franz Schubert is justly credited with having a very strong influence on today's romantic piano style. Today's two impromptus are among the most beloved from his output. The first in E-flat Major is the source of many an analogy. My favorite is perhaps that it is the musical impression of a string of pearls. The G-flat Major Impromptu could be summarized as a showpiece for the 'singing tone'. These two pieces date from 1827, one year before Schubert died at age 31. Peter Maxwell Land

[1] Dubal, David The Art of the Piano (1989, Hardcourt Brace; New York) p.400

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Impromptu in G-flat major op. 90 (D. 899) no. 3 Franz Schubert

Suggesting the air of an extemporized performance, the Impromptu as a musical form came about during the earliest days of the Romantic movement. The first known use of the word, in this sense, was in 1817 and was used by a publisher to describe a piano piece by Czech composer Jan Václav Voříšek. It is possible that the Impromptus of Voříšek were influential on Franz Schubert's own contributions to the genre much in the same way Chopin drew inspiration from the Nocturnes of John Field.

Schubert's Impromptus, published in two sets of four, were written in 1827. The first set was published during his lifetime while the second was published shortly after his death in November 1828. They are considered companion pieces to the Six Moments Musicaux, also composed around the same time.

The third Impromptu, in the key of G-flat major, is a prime example of Schubert's incredible melodic gift. Charming and serene, it is easy to see this Impromptu as a precursor both of Felix Mendelssohn's Songs without Words and Richard Wagner's concept of "endless melody." The broad melody, above an unbroken accompaniment of arpeggios, moves at a slow and steady pace. It is a perfect image of peaceful contentment. The left hand, throughout much of the piece, provides a firm harmonic support to the arpeggios and melody above, creating a rich and full sound. The middle section becomes more harmonically adventurous and moves through several modulations. The bass, as well, also becomes somewhat more lively with a rising triplet motif and occasional trill. However, the repressed vigor is soon abandoned as the opening section returns, rounding out the tripartite form of the piece. Joseph DuBose