Classical Music | Piano Music

Recorded on 11/03/2010, uploaded on 04/13/2011

Musician's or Publisher's Notes

Written alongside the opus 94 Impromptus during 1827, the second set of four was not published until after the composer’s death. In both cases, the title “Impromptus” was not given by Schubert himself but instead by his publisher, Haslinger. Certainly, the title seems a little inappropriate as none of the eight Impromptus conveys an overwhelming sense of “off-the-cuff” performance that the title would otherwise suggest. Even in the moments where it may seem so, it would be foolish to assume such since with Schubert, as with the other great masters, the most profound statements are often achieved by remarkably simple means, and thus betraying the presence of forethought and conscious effort. Further suggesting this is the fact that Robert Schumann, a great admirer of Schubert’s music and insightful music critic, believed that Schubert may have intended the four pieces as a sonata, noting motivic connections and the close relationship of the keys used, particularly between the first and last of the set. Through this view is generally regarded as false—there are distinct differences and Schubert initially numbered them as five through eight, indicating a continuation of the first set—it nonetheless shows that enough planning was put into the set to create four independent pieces that together form a sound whole.

The first Impromptu, in F minor, unfolds as a sonata form, albeit without a true development section. The opening theme begins with a declamatory statement that descends over an octave from dominant to leading tone, and which is then answered by a thoughtful closing phrase. After an ornamental repetition of the theme, filigree fills the space before the arrival of the next thematic idea. A pulsating theme is introduced beneath the broken chords of the right hand, and eventually takes over the entire musical texture, first with a dramatic descent in octaves then followed by a gentle chordal tune in A-flat major. Schubert then builds off of the broken chords that emerge again as accompaniment at the conclusion of the second theme, and proceeds into the piece’s third theme. Though this third idea is an entirely new theme, its length gives it the weight of a contrasting episode to the two themes of what could be called the “exposition,” making this section an adequate stand-in for the otherwise expected development section. Passing through A-flat minor, C-flat major and A minor—which further give it the feeling of a development—this third section eventually regains the key of A-flat major and effects a transition into a restatement of the first theme. Following the episodic development, Schubert then provides a fairly straightforward recapitulation of the two expository themes—the first is only somewhat changed from its first appearance, and the second makes its reappearance in the key of the tonic major. However, instead of closing the piece with the recapitulation of the second theme, Schubert proceeds to include a lengthy restatement of the material of the central episode, likewise changing its key so as to conclude also in F major. A deft return to the minor mode, however, quickly ushers in a last statement of the opening theme, and closes the piece with an air of pathos.

The second Impromptu, in A-flat major, is a beautiful Allegretto opening with a solemn hymn-like tune, which has been noted for its similarity to the opening theme of Beethoven’s Piano Sonata in A-flat, op. 26. Peaceful and consoling, the hymn tune becomes more fervent, even majestic, in its middle phrase as it reaches the key of G-flat minor with fortissimo chords, before Schubert deftly returns to the calming strain which opened the piece. In the central episode, marked “Trio,” the music shifts to the key of the subdominant as a persistent triplet figure reaches heavenward over a bass the emphasizes the second beat of the measure. Following its initial phrase, the trio moves through the key of D-flat minor before reaching a triumphal climax in A major. By a bridge of eight measures, leading back to the tonic key of A-flat, the listener is returned to the solemn tones of the opening melody.

For the third Impromptu in B-flat major, Schubert returned for a second time to a theme from his 1823 incidental music to Rosamunde (he had used the theme once already as the basis for his String Quartet in A minor). The melody here, however, is not identical to that earlier tune, but nonetheless bears a striking resemblance and is made to serve as the basis for five variations. The first variation embellishes the theme with a dotted rhythmic figure atop a rippling accompaniment of broken chords and syncopations in the bass. While maintaining the syncopated accompaniment, the second variation elaborates on the theme in a different manner with brilliant passagework and transferring the first part of its second half into the bass. The third variation modulates into the parallel minor key. Conflict is introduced between the inherent duple rhythms of the theme and the introduction of triplets, mostly in the unsettled accompaniment. Schubert then ventures into the key of G-flat major for the penultimate variation. Sprightly and energetic, the theme in its newest garb is now presented against a delicate accompaniment of broken chords. Lastly, the final variation bears some similarity to the second. The syncopated accompaniment returns while the theme is transformed into sweeping scales that traverse the better part of the piano’s range. Quite amusingly, Schubert stops just short of bringing the runs to a resolution upon the tonic. A short pause then ushers in one final statement of the theme. This statement, though not a full-fledged variation, presents the first part of tune, now marked Più lento, as a quaint chorale, bringing the piece to a quite end.

The fourth and final Impromptu returns to the key of F minor and adopts the fiery idioms of Hungarian music to create a brilliant conclusion to the set. A quick-paced Allegro scherzando, it is the most technically difficult of the impromptus. An energetic theme, thrust forward by the hemiola effect of the accompaniment, begins the piece without introduction, erupting multiple times in a flurry of notes before reaching its conclusion and giving way to a lengthy episode. This episode, at first in the relative major, begins with running scales atop a rhythmic figure that continues to propel the music forward. However, a distinctive melodic motif eventually emerges nearly in conjunction with a change back to the minor mode, this time A-flat minor. This new motif quickly takes over the episode, turning the passionate energy of the opening into a near wild frenzy as a climax in the key of A major is reached. From there, Schubert deftly regains the key of A-flat major and effects a marvelous transition back to the opening theme. This recapitulation of the opening theme, somewhat more embellished than its initial statement, gives way to a transitory passage built upon its accompaniment. Not an episode in its own right, it nonetheless serves a brief moment of contrast and modulation into D-flat major before the piece erupts into a brilliant coda in the tonic key. The rhythms of the principal theme imply its presence before a descending scale, beginning in the upper register and ending on the lowest F, brings the piece to a thunderous end.      Joseph DuBose

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Schubert made reference to the second set of impromptus in a letter to his publisher, indicating that they were to be performed separately or as a whole. However, Schumann had a reason for suspecting that they were originally meant as a piano sonata. The emotional and dramatic scope of the work, the harmony and tempo relationships between the movements, and the structure of the set, all seem to support such a conclusion. Whether that was the original intention or not, these pieces display the genius of Schubert at its most potent, both as a lyricist and as an architect.

The lyrical and innocent third Impromptu, a theme and variations in B-flat major, re-uses a theme that Schubert used twice before in different guises - once in the incidental music to the play Rosamunde, D. 797, and the second time in the String Quartet in A minor, D. 804. This beautiful theme is given five variations - at times rippling, playful, sparkling, poetic and even tragic, each one a prime example of Schubert's genius as a miniaturist.      Inon Barnatan

Courtesy of International Music Foundation.