Impromptus (Schubert)

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Franz Schubert's Impromptus, Opp. 90 and 142 (post.), are a series of pieces for solo piano which were composed in 1827 and first published during the composer's lifetime (or shortly thereafter) under that name. There are eight such Impromptus in total.

Three other unnamed piano compositions, written in May 1828, a few months before the composer's death, are alternatively indicated as Impromptus or Klavierstücke ("piano pieces").

Contents 1 Four Impromptus, Op. 90 (D. 899) 1.1 No. 1 in C minor 1.2 No. 2 in E-flat major 1.3 No. 3 in G-flat major 1.4 No. 4 in A-flat major 2 Four Impromptus, Op. post. 142 (D. 935) 3 Three Klavierstücke - D. 946 3.1 No. 1 in E-flat minor 3.2 No. 2 in E-flat major 3.3 No. 3 in C major 4 Media 4.1 Op. 142 No. 2, in A-flat major 4.2 Op. 142 No. 3, in B-flat major

[edit] Four Impromptus, Op. 90 (D. 899)

The Opus 90 impromptus consist of 4 typical romantic-era pieces, each with distinct elements.

[edit] No. 1 in C minor

The first impromptu (No.1) written in C minor commences on a striking dominant chord, leaving which key the piece is ambiguous. The piece continues into a march-like melody written in C minor, (where the true key is revealed). The march theme is embellished, then winds slowly into the key of A-flat major, where a new melody is introduced and contrasts the beginning section with its song-like melody, accompanied by triplets in the bass. Upon returning to the main theme the first time, it has combined with the triplet pattern of the previous section. The theme eventually winds into the second theme again, this time in G major, using the end of the theme's tonic chord as an effective dominant chord transition into the main theme. The theme gradually diminishes and resolves in C major, resolving the piece's tension into tranquility.

[edit] No. 2 in E-flat major

Perhaps the finest of the set is the second in E-flat major, which starts off as a gentle ländler, but is transformed into a piece of great poignancy, encompassing Schubert's brilliance for music of great personal anguish and sorrow, with a beautiful hymn-like melody in the middle section perfectly capturing his feelings of fear, anger and uncertainty and making use of his favourite minor-major contrasts when it is repeated in an attempt to resolve the conflict. The lilting landler the piece begins with recurs throughout. The poignant minor coda leaves the journey ultimately unresolved.

[edit] No. 3 in G-flat major

The third of the Op. 90 Impromptus, in G-flat major, is characterised by the sustained contrast of relatively slow, stationary themes with the constant rapid movement of broken triads in the middle registers. The piece exploits this contrast in order to establish the paradoxical impression of being both simplistic and complex, static and dynamic, beautiful and brutish -- but all at the same time. It is perhaps because of this Janus-like duplicity, along with its easily accessible melodies and the high level of technical proficiency required for performance, that the piece was featured prominently in the 1997 film Gattaca -- with slight modifications, of course, which rendered it unplayable by a "mere" ten fingers.

Though written in G-flat major, it was long transposed to and printed in G major (a much simpler key). The original version is now generally preferred.

[edit] No. 4 in A-flat major

The fourth Impromptu, in A-flat major, actually begins in A-flat minor, though this is written as A-flat major with accidentals. (The alternatives would have been either to have a key signature of seven flats or to start the piece in G-sharp minor.) The main theme consists largely of cascading arpeggios in semiquavers (sixteenth notes) followed by a chordal passage in crotchets (quarter notes). Both these are repeated and developed, going through C-flat major and B minor before finally reaching A-flat major. There is a subordinate, rather ländler-like theme, accompanied by the semiquaver figure, varied by triplets on one modified appearance. The central section in C-sharp minor is accompanied by continuous chords in quavers (eighth notes)). It passes into the major mode, but reverts to the minor.

This piece, marked simply allegretto, has been subjected to--and can withstand--fantastic extremes of tempo, depending on whether the performer thinks in terms of semiquavers or crotchets.

[edit] Four Impromptus, Op. post. 142 (D. 935)

As the first and last pieces in this set are in the same key (F Minor), this set has been accused of being a sonata in disguise, notably by Robert Schumann and musicologist Alfred Einstein.

[edit] Three Klavierstücke - D. 946

The three Klavierstücke D. 946 are three solo piano pieces by the Austrian composer Franz Schubert, composed in May 1828, just six months before his early death. They are largely neglected pieces, rarely heard in the concert hall or on disc. Pianists who have recorded the pieces include Alfred Brendel on Phillips and Maria Joao Pires on Deutsche Gramophone.

[edit] No. 1 in E-flat minor

The main section (allegro assai) is in 2/4 time, though, as it is largely in triplets, the effect is like 6/8 for much of the time. It soon moves to E-flat major. As originally written, the piece had two trios, the first in B Major, andante in alla breve time and the second in A-flat major, andantino in 2/4. Schubert crossed out the second, but it is not infrequently played also.

[edit] No. 2 in E-flat major

This is a lyrical piece, quite lengthy, especially if all repeats are observed. (The first appearance of the main section and both trios are each in two sections, both repeated.) The main section is an allegretto in 6/8 time. The first trio is in C minor and major (no change in meter or time signature) and the second in A flat minor (l'istesso tempo in alla breve time).

[edit] No. 3 in C major

This, by far the shortest of the three, is a lively piece (allegro) in 2/4, the main section of which contains much syncopation. The trio is in Db major and 3/2 time with no change in tempo indication. There is a substantial coda, again with much syncopation.

[edit] Media

[edit] Op. 142 No. 2, in A-flat major

Impromptu Op. posth. 142 (D. 935) No. 2.

[edit] Op. 142 No. 3, in B-flat major

Impromptu Op. posth. 142 (D. 935) No. 3 played by Randolph Hokanson.

This is the "Rosamunde" impromptu, while the theme derives from the incidental music Schubert composed for the play with the same name. Schubert had already re-used this theme in the string quartet in A minor D. 804, equally nicknamed "Rosamunde". This impromptu is a theme with variations.