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Contexts for the Interpretation of Schubert's Impromptus and Last Sonatas

Vernon Blair

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Published in Returning Cycles: Contexts For The Interpretation Of Schubert S Impromptus And Last Sonatas (California Studies In 19th Century Music 11)

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Franz Schubert's Impromptus and Last Sonatas are among the most beloved and iconic works of the Romantic era. Yet, their interpretation remains a subject of ongoing debate and inquiry. This article explores the historical and cultural contexts that have shaped and continue to shape the way these works are performed and understood.

Returning Cycles: Contexts for the Interpretation of Schubert s Impromptus and Last Sonatas (California Studies in 19th Century Music 11)

Returning Cycles: Contexts for the Interpretation of Schubert's Impromptus and Last Sonatas (California Studies in 19th-Century Music Book 11)

by Charles Fisk

5 out of 5

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Historical Context

Schubert composed his Impromptus and Last Sonatas in the turbulent years of the early 19th century. Vienna, where Schubert lived and worked, was a hotbed of musical and cultural innovation. The city was home to a vibrant salon culture, where artists, intellectuals, and aristocrats gathered to exchange ideas and share their work.

This atmosphere of intellectual ferment had a profound influence on Schubert's music. His Impromptus, in particular, reflect the influence of the improvisatory style of performance that was popular in the Viennese salons. These pieces are characterized by their freedom of form and their exploration of harmonic and melodic possibilities.

Schubert's Last Sonatas, on the other hand, were written during a period of personal and financial crisis. The composer was in ill health and deeply in debt. These sonatas, with their dark and introspective nature, reveal Schubert's inner turmoil during this difficult time.

Cultural Context

The Impromptus and Last Sonatas were also shaped by the changing musical culture of the time. The early 19th century saw the rise of Romanticism, a movement that emphasized emotion and individual expression. Schubert's music, with its expressive melodies and dramatic harmonies, perfectly captured the spirit of the age.

Romanticism also led to a new emphasis on virtuosity in performance. Pianists were expected to display their technical prowess and interpretational skills. This had a significant impact on the way Schubert's Impromptus and Last Sonatas were performed. Performers began to emphasize the virtuosic elements of these works, often at the expense of their more lyrical and introspective qualities.

Performance Practice

The interpretation of Schubert's Impromptus and Last Sonatas has continued to evolve over time. In the early 20th century, pianists such as Alfred Cortot and Artur Schnabel favored a Romantic approach to these works, emphasizing their emotional and expressive qualities.

In the late 20th century, however, there was a shift towards a more historically informed approach to performance practice. Pianists such as Paul Badura-Skoda and András Schiff began to research the instruments and performance practices of Schubert's time. This led to a renewed appreciation for the improvisatory elements of the Impromptus and the more subtle and nuanced qualities of the Last Sonatas.

Today, there is no single "correct" way to interpret Schubert's Impromptus and Last Sonatas. Performers continue to draw upon a variety of historical and cultural contexts to inform their interpretations. However, the work of historically informed performers has had a significant impact on the way these works are understood and performed today.

The Impromptus and Last Sonatas of Franz Schubert are among the most beloved and iconic works of the Romantic era. Their interpretation remains a subject of ongoing debate and inquiry, as performers continue to draw upon a variety of historical and cultural contexts to inform their performances. By understanding the contexts in which these works were composed, we can gain a deeper appreciation for their beauty and complexity.

Returning Cycles: Contexts for the Interpretation of Schubert's Impromptus and Last Sonatas (California Studies in 19th-Century Music Book 11)

by Charles Fisk

5 out of 5