Schumann: Schubert’s Opus 142
There are few things more subjective than music: a subjective opinion on a subjective writing about a subjective composition. This particular set of impromptus appear rather disrupted by the publisher. Discrepancies regarding performance order, genre grouping and key signature have been disputed by theorists. In his review of Schubert’s Four Impromptus for the Pianoforte, Robert Schumann recognizes both strengths and weaknesses of the works in their current state at the time. It comes from a point of sincerity and respect, often noting the work’s intriguing comparison to various works by Beethoven and Liszt.
Schubert completed the impromptus during the last full year of his life, 1827. This was undoubtedly a time of despair for the composer, which can be seen only moderately throughout these …show more content…
Following this is the second impromptu, resembling the second, “slow” movement of a sonata. The third impromptu, unlike the others, is quickly dismissed by Schumann as being “wholly devoid of invention or fancy.” Finishing the set is the fourth impromptu, the potential third and final movement of a sonata. The concluding impromptu is indeed a triumphant and virtuosic end work, often sounding particularly Beethovenian. Schumann spends much of the review discussing things that are related to (but not about) Schubert, such as Liszt’s piano renditions of his lieder and their significance to a contemporary audience of ameture musicians. The review gives a subjective, yet considerate comparison of Schubert and Beethoven, referring to the former as a favorite of the youth, “sporting carelessly among the giants.” Femininity and masculinity are often used to compare the two, with Schubert being the more feminine. Much of his work is influenced by Beethoven, leading to the thought that it is comparatively less
There are few things more subjective than music: a subjective opinion on a subjective writing about a subjective composition. This particular set of impromptus appear rather disrupted by the publisher. Discrepancies regarding performance order, genre grouping and key signature have been disputed by theorists. In his review of Schubert’s Four Impromptus for the Pianoforte, Robert Schumann recognizes both strengths and weaknesses of the works in their current state at the time. It comes from a point of sincerity and respect, often noting the work’s intriguing comparison to various works by Beethoven and Liszt.
Schubert completed the impromptus during the last full year of his life, 1827. This was undoubtedly a time of despair for the composer, which can be seen only moderately throughout these …show more content…
Following this is the second impromptu, resembling the second, “slow” movement of a sonata. The third impromptu, unlike the others, is quickly dismissed by Schumann as being “wholly devoid of invention or fancy.” Finishing the set is the fourth impromptu, the potential third and final movement of a sonata. The concluding impromptu is indeed a triumphant and virtuosic end work, often sounding particularly Beethovenian. Schumann spends much of the review discussing things that are related to (but not about) Schubert, such as Liszt’s piano renditions of his lieder and their significance to a contemporary audience of ameture musicians. The review gives a subjective, yet considerate comparison of Schubert and Beethoven, referring to the former as a favorite of the youth, “sporting carelessly among the giants.” Femininity and masculinity are often used to compare the two, with Schubert being the more feminine. Much of his work is influenced by Beethoven, leading to the thought that it is comparatively less