Télécharger le livret - Outhere
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Télécharger le livret - Outhere
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period as the rest of the Sonata, June 1817. in sty<strong>le</strong><br />
and beauty the A major Andante fits the other three<br />
movements like a glove; it is one of the loveliest inspirations<br />
of Schubert’s early years, and i for one<br />
would willingly accept far flimsier reasons than<br />
these for its inclusion in the F sharp minor sonata<br />
if thereby it can emerge from obscurity”. The other<br />
movements of the Sonata were also notated on<br />
sheets of music paper which included fragments of<br />
earlier compositions.<br />
The Scherzo and the Fina<strong>le</strong>, copied onto a<br />
doub<strong>le</strong> folio, do not appear here in the correct<br />
order: the Fina<strong>le</strong>, incomp<strong>le</strong>te, is found on pages<br />
1-3, whi<strong>le</strong> the comp<strong>le</strong>te Scherzo appears on page<br />
4 (this is why the two movements were considered<br />
as one in Deutsch’s classification where they<br />
are described as “Al<strong>le</strong>gro and Scherzo”, D 570,<br />
although the former c<strong>le</strong>arly shows all the typical<br />
features of a Fina<strong>le</strong>). There is a plausib<strong>le</strong> reason<br />
for this arrangement: Schubert could have taken<br />
page 4 of these sheets of music paper as the first<br />
(i have done this myself a number of times as an<br />
occasional composer).<br />
Full of gaiety, the Scherzo, which includes a<br />
passage that anticipates Johann Strauss, would<br />
seem to require no commentary. As for the Fina<strong>le</strong>,<br />
it is a real delight to find the motifs from the first<br />
movement – the breaking down into triads, as<br />
well as the note C sharp repeated three times,<br />
no longer now e<strong>le</strong>giac in mood but set to a dance<br />
rhythm that is vigorous and joyous. This does not<br />
prevent the joyful Scherzo comp<strong>le</strong>tely overcoming<br />
the melancholy of the first movement, despite the<br />
consolatory atmosphere of the second movement,<br />
28<br />
which is rather like the later songs (Erlaufsee D<br />
586 and Der Wachtelschelg D 742). An epilogue,<br />
with the dark colours of an e<strong>le</strong>gy, introduces a new<br />
trip<strong>le</strong>t rhythm which is to dominate the development<br />
section, whi<strong>le</strong> the melancholy is increased<br />
and takes on a quite moving appearance. This<br />
movement, which has no recapitulation, has been<br />
comp<strong>le</strong>ted according to the same princip<strong>le</strong>s adopted<br />
for the first movement. The Sonata finishes as it<br />
began, in a mood of gent<strong>le</strong> melancholy.<br />
∆<br />
Sonata no. 9 in B major, opus post. 147, D 575<br />
composed in August 1817<br />
At the age of twenty, Schubert must have felt<br />
well satisfied with the results of his “pianistic<br />
spring-time” of 1817: three real masterpieces had<br />
been born, each different from the other, but all<br />
three marked by the unmistakab<strong>le</strong> seal of a mature<br />
personality: the Sonata in A minor, D 537 with<br />
its tragic feeling, the Sonata in A flat major<br />
with its naive brevity, and finally the Sonata in<br />
E flat major expansive and relaxed, more profound<br />
in its first version in D flat Major because of<br />
the great sadness of the Andante in C sharp minor.<br />
After a short pause – even Schubert needed some<br />
rest – came the Sonata in B major, entit<strong>le</strong>d<br />
with good reason Grand Sonata in the first posthumous<br />
edition published by Diabelli & Co. in 1846.<br />
Here Schubert manifestly wished to conquer<br />
and to integrate new aspects into the already rich<br />
comp<strong>le</strong>x of the sonata. And he succeeded magnificently:<br />
from the very start, full of strength, in<br />
octaves, we are in unknown territory. Whi<strong>le</strong> the