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Skip to main content. Used: Good Details. Sold by Roundabout Books -- New England. Condition: Used: Good. Comment: No major scratches or defects; may not contain online digital copy. Case shows moderate wear. We sometimes source from libraries. We ship in recyclable American-made mailers. Add to Cart. Image Unavailable Image not available for Color:. Schubert: Piano Sonata in A, D. A comparatively small area of the repertoire is suited to his deeply considered, highly intellectualized style, and in Brendel's discography Schubert always has retained a special place.
Bargain hunters already will have snapped up the Philips Duo set of Brendel's recordings of the final triptych of Schubert piano sonatas--D. These live Read more performances described by the pianist himself as "documents of chance", recorded over the last four years at recitals in Amsterdam, Frankfurt, Aldeburgh, and London, include Brendel's first-ever recording of Schubert's piano sonata in B major D.
Schubert probably began sketching the sonatas sometime around the spring months of ; the final versions were written in September. These months also saw the appearance of the Three Piano Pieces, D. In the following year, Schubert's brother Ferdinand sold the sonatas' autographs to another publisher, Anton Diabelli , who would only publish them about ten years later, in or Hummel was a leading pianist, a pupil of Mozart , and a pioneering composer of the Romantic style like Schubert himself.
Schubert's three last sonatas have many structural features in common. First, it is in a minor key, and this is the primary departure that determines its other differences from its companions.
Its opening Allegro is considerably more concise than those of the other two sonatas and does not make use of the expansive time-dilating modulatory quasi- development passages that so strongly characterize the other two opening movements. Its third movement, instead of a scherzo , is a slightly less lively, more subdued minuet.
Finally, the finale is in a sonata form rather than rondo-sonata form. However, these differences are relative and are significant only in comparison to the extreme similarity of D. Those two are similar to the extent that they can be considered variations on an identical compositional template, having no major structural differences. All three sonatas, most importantly, share a common dramatic arc and make considerable and identical use of cyclic motives and tonal relationships to weave musical-narrative ideas through the work.
Each sonata consists of four movements, in the following order:. The first movement is in moderate or fast tempo and in sonata form. The exposition consists of two or three thematic and tonal areas and, as common in the Classical style , moves from tonic to dominant in major-mode works or to the relative major in minor mode works.
However, as often with Schubert, the harmonic scheme of the exposition involves additional, intermediate tonalities, which may be quite remote from the tonic-dominant axis and sometimes imbue certain expository passages with the character of a development section.
The main themes of the exposition are often in ternary form , with their middle section digressing to a different tonality. The themes generally do not form symmetrical periods , and irregular phrase lengths are prominent.
The exposition ends with a repeat sign. The development section opens with an abrupt turn into a new tonal area. A new theme, based on a melodic fragment from the second thematic group of the exposition, is presented in this section over recurrent rhythmic figuration , and then developed, undergoing successive transformations. The first thematic group returns in the recapitulation with different or additional harmonic digressions; the second group returns unaltered, only transposed a fourth up.
The short coda maintains the tonic key and mainly soft dynamics, achieving a resolution of the movement's conflicts and ending pianissimo. The main sections A and B are contrasted in key and character, A is slow and meditative; B is more intense and animated. The movement begins and ends slowly and quietly. The third movement is a dance a scherzo or minuet in the tonic, in overall ABA ternary form, with a trio in either ternary or binary form , and in a conventionally related key relative major, subdominant, and parallel minor respectively.
The B section of each piece features tonalities serving important dramatic functions in previous movements. Each features animated, playful figurations for the right hand and abrupt changes in register.
The finale is in moderate or fast tempo and in sonata or rondo-sonata form. The themes of the finales are characterized by long passages of melody accompanied by relentless flowing rhythms. The exposition has no repeat written in.
The development section is more ordinary in style than that of the first movement, with frequent modulations, sequences , and fragmentation of the exposition's first theme or the main theme of the rondo.
The recapitulation closely resembles the exposition, with the minimal harmonic changes needed to end the section in the tonic: the first theme returns in a shortened version; the second theme returns unaltered, only transposed a fourth up.
The coda is based on the exposition's first theme. It is composed of two parts, the first quiet and attenuated, creating a sense of expectation, the second animated, dissipating the final tension in decisive, agitated motion and ending with fortissimo tonic chords and octaves.
The opening is dramatic, with a fully voiced, forte C-minor chord. Both themes progress somewhat in the style of variations and are structured with irregular phrase lengths. The development section is highly chromatic and is texturally and melodically distinct from the exposition.
The coda returns to the material of the development section but with stable tonality, dying out in a dark series of cadences in low register. Nostalgic in its traditional Classical character one of the few instrumental Adagios Schubert wrote , the opening theme of this movement is an elegant, touching melody that eventually undergoes remarkable tonal and cadential treatment, undermining the peaceful setting. This diversion of the main theme's expected cadence leads to the haunted atmosphere of the B section, which is full of chromatic modulations and startling sforzandos.
In the second appearance of the A and B sections, almost the entire music is shifted a semitone up, further cementing the importance of the ascending minor second in the sonata as a whole. The focal plagal progression returns transformed at the end of the movement, with even subtler chromatic coloration and more distant modulations, touching on C major, before the piece finally ends in the tonic, the theme now weakened and given an illusory quality due to the evasion of cadences, free modulation, and tendency toward digression into troubled minor passages.
The third movement is somber, quite distinct from the typical atmosphere of dance movements. It is relatively conservative in its key scheme, moving to the relative major key and back to the tonic. Check out our turntable store for a great selection of turntables, needles, accessories, and more. Register a free business account. Customer reviews. How does Amazon calculate star ratings? The model takes into account factors including the age of a rating, whether the ratings are from verified purchasers, and factors that establish reviewer trustworthiness.
No customer reviews. There's a problem loading this menu right now. Learn more about Amazon Prime. Get free delivery with Amazon Prime. Notes and Editorial Reviews Brendel is still recognizably the romantically impressionable Brendel of old in the big A major Sonata, where like Schnabel before him, he again chooses not to repeat the first movement's exposition. But there are some differences of style that result in a performance of greater maturity and poise.Franz Schubert Piano Sonata No 22 in A major, D 1 Allegro 2 Andantino 3 Scherzo. Allegro vivace – Trio 4 Rondo. Allegretto – Presto Alfred Brendel, piano.