Classical Music | Piano Music

Recorded on 11/08/2005, uploaded on 01/14/2009

Musician's or Publisher's Notes

Sonata in A-Major, Op. 120               Franz Schubert

Schubert was born at the end of the 18^th century and his work falls mostly between the end of the classical and beginning of the romantic periods. Consequently, musicologists can not place him in either period. He created an absolutely unique world in his music which is so subtle and intimate that it certainly looks towards romanticism, while at the same time its form is rooted in classicism.

Schubert's sonata in A-Major, op 120, also known as the "Little A" sonata, is one of his shorter sonatas, absolutely perfect in its structure.  The first movement, which is very romantic in its content and classical in its structure, creates a unique character of simplicity, intimacy and pure beauty so typical of Schubert and so difficult for a performer to capture. Like any perfect beauty in art, it is very evasive in its simplicity.

The second movement is one of Schubert's most beautiful and profound moments, and is a truly romantic movement.  The final movement sets a contrast to the first two, being joyful and playful while also quite classical in its language.  A very interesting effect is created by Schubert introducing us to two of his faces in one piece.    Elena Baksht

____________________________________________________________

Piano Sonata in A major, D. 664 (op. 120)       Franz Schubert

Franz Schubert composed the Piano Sonata in A major, known as the "Little" A major, during the summer of 1819 which he spent in the Austrian countryside. Its nickname is used to distinguish it from the much larger A major Sonata composed nearly a decade later in 1828. Schubert dedicated the "Little" A major Sonata to Josephine von Koller whom he thought "very pretty" and a "good pianist."

Chief among the features of the "Little" A Major Sonata is its apparent effortless demeanor. Unlike some of Schubert's other sonatas, the "Little" Sonata makes no awkward technical demands of the performer. Furthermore, it shows Schubert, at last, championing the sonata form, which he struggled to master in his early works.

The first movement begins with a charming melody of Schubertian lyricism. This melody then passes almost seamlessly into the movement's second theme. Interestingly, the second theme pays a subtle rhythmic homage to the famous Allegretto of Beethoven's Seventh Symphony—one of many such references made by Schubert to his great idol. The development concerns itself with material taken from both themes. However, as both themes are cut from the same lyrical cloth, the usual sonata dichotomy melds into a graceful whole. The recapitulation presents few changes from the exposition and brief coda based on the first theme closes the movement.

The middle Andante begins with a homophonic texture and a rhythmic figure that permeates the rest of the movement. Even once the music breaks free of the restraining chordal texture, the ensuing melody embraces even more the prevailing rhythm. The Finale is a joyful and energetic movement in 6/8 meter. Forzando chords and chromaticism give it a jocular character. The movement closes with a brief lyrical restatement of the Finale's opening melody.      Joseph DuBose

Courtesy of International Music Foundation.