Télécharger le livret - Outhere
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the first movements on their own if he so desires.<br />
Finally, another possib<strong>le</strong> reason for Schubert<br />
not finishing the work and therefore not publishing,<br />
it might be the boldness, sometimes quite<br />
unimaginab<strong>le</strong> in his time, of his harmonic writing<br />
(he had been criticised already quite a lot for his<br />
“extravagant harmonies”). Already in the exposition<br />
of the first movement something quite unexpected<br />
happens: the opening theme develops<br />
in a symphonic way, to such an extent that after a<br />
delicate beginning we progress to a full orchestral<br />
outburst. At this point, the ru<strong>le</strong>s would require a<br />
modulation to the dominant key. But instead of<br />
this, the theme returns in the tonic on the dominant<br />
ninth chord of G, which we had expected in<br />
fact 15 minutes earlier, in the recapitulation. Was<br />
Schubert <strong>le</strong>d astray? This dominant ninth chord<br />
should resolve onto C minor (or major), thus<br />
not in the “proper” key that one would expect<br />
in normal sonata-form. But just at that moment,<br />
Schubert invents an enharmonic sequence of genius,<br />
so unique of its kind that we must quote it<br />
here as a musical examp<strong>le</strong>.<br />
A. expected modulation<br />
B. actual modulation<br />
44<br />
The “mirac<strong>le</strong>” of this modulation consists of<br />
its retrospective revelation: its goal was not C<br />
minor, but B minor. Of course the antinomy B<br />
major-C major is also comp<strong>le</strong>tely unexpected.<br />
But given the relationship between B minor<br />
and the expected dominant G major, Schubert<br />
could easily have ended the exposition in G.<br />
However, the arrival of B minor is so daring<br />
that a fracture, a rupture in the homogeneity<br />
was a danger. Schubert solved this prob<strong>le</strong>m in<br />
the simp<strong>le</strong>st way: the relationship between the<br />
second theme and the main theme is certainly<br />
strange and unknown, but on the other hand<br />
their rhythmic relationship is very close! This<br />
second theme thus appears as part of a unity<br />
at a higher <strong>le</strong>vel, with extreme tonal contrast,<br />
but with a rhythmic analogy. The syncopated<br />
motif in the accompaniment had already been<br />
heard with the main theme. However, with its<br />
even rhythm, one essential difference remains:<br />
whereas the first theme was constructed in<br />
dialogue, the second is given to a sing<strong>le</strong> voice,<br />
continuous and lyrical. But it is impossib<strong>le</strong> to<br />
describe in words a Sonata of such genius. Let<br />
us remember finally the “Mozartian phrase” in<br />
the second movement: the do<strong>le</strong>ful chord in the<br />
sixth bar (a dramatic passage in the inner voice)<br />
which had appeared before Schubert’s time only<br />
on one occasion: at the beginning of Pamina’s<br />
aria full of tragedy and a desire for death – “Ach<br />
ich fuhl’s, es ist entschwunden, ewig hin der Liebe<br />
Gluck” (Ah, i feel it, it is gone, lost for ever, the<br />
happiness of love). ∆