Franz Schubert: Piano Sonata in B-flat Major, D.960 (Cates)

Рет қаралды 14,256

7 ай бұрын

We start with the number, 3. Schubert wrote his last 3 Sonatas as a Triptych. Before that, Beethoven and his last 3 sonatas. Before that, Mozart and his last 3 symphonies. Before this, J.S. Bach and his Prelude and Fugue in Eb major (Saint Anne) in Eb major, which has 3 flats, and which has a triple fugue, each subject representing one person of the Holy Trinity, and so on.
The number 3 has always been very important. In religious matters, we think of the Holy Trinity. In literature, we have in story books: "there were three kids", or "three boys", and so on. In Saint Paul's letter to the Corinthians, we have a trinity: faith, hope, and love. Three fundamental truths of absolute good.
The number "3" is a number of perfection, a number of completion, and a number of a full "coming around", if you will. Beethoven's last sonata in C minor, with 3 flats, demonstrates this perfectly. Now we come to the last, and perhaps, the greatest sonata of Herr Schubert. This monument, the Sonata in Bb Major, is in my opinion the greatest keyboard work he ever wrote.
The number 3 is pervasive in this work. The opening chords in the right hand, which portray a sense of absolute stillness and calmness, are voiced in 3 voices. In measure 19, he modulates suddenly down by a major 3rd, from Bb to Gb. In measure 48 he modulates to F# minor, which has 3 sharps. From here he moves to A major, which also has 3 sharps. After the first repeat happens, and we arrive at the second, we modulate up by a minor third to the enharmonic minor, (Db minor), written as C# minor, which is a minor third up from Bb. This is no coincidence, by the way. He's already foreshadowing the second movement. From here we move to a windy theme (m131), in A major, which again, has 3 sharps, and a flowing right hand in triplets (3 again). We modulate from A up a major third to the enharmonic of C# major, which is now written as Db major. And on, and on, and on this goes. This work, the sonata as a whole, is tied together by two main germ motives: the interval of a 3rd, and the eerie and doom-ridden interval of a minor 2nd, which pervades the trills in the first movement. The f to the Gb and back down, and so on. This interval is put to use compositionally in the 4th movement to create a great sense of unrest and struggle.
The vast and wonderfully expansive theme is derived from two pieces: Schubert's Lieder: "Am Meer", and the Archduke Trio of Beethoven op. 97. Schubert's Lieder are omnipresent, and they determine much of the interpretation, tempo, and other aspects of his works. For this work, the clear and obvious recomposition of the melodic elements from Am Meer gives us a very good basis from which to start interpretationally.
Continued in comments...
Recording information:
Artist: Matthew Cates
Piano: 1840 Conrad Graf Fortepiano, A=432Hz, Well Tempered Tuning
Microphones: DPA4015 Wide Cardoid Mic (x2)

Пікірлер: 45

@HIPguy 7 ай бұрын

To continue the description...this piece must be listened to as a unit. The movements are inseparable. Everything between them is linked at the very motive of the interval. But, before we get carried away, back to "Am Meer". The ideal for this opening movement of the Schubert Sonata is recognized first in this Lieder. We have here the setting: "The sea was glistening far into distance In the last of the evening glow; We were sitting by a solitary fisherman’s house, We were sitting mute and alone. The mist rose, the water swelled, The seagull flew back and forth; From your eyes, full of love, Tears fell down. I saw them fall onto your hand, I sank onto my knees; From your white hand I Drank up your tears..." The poem continues on, but for now we have here what is most important. The idea of death, and farness, and yet a very real sense of nearness. Like a great German romantic, everything is symbolic in this sonata. We are sitting by the sea as this great work begins, and it is absolutely still. It is night time, the moon is reflecting off the water, but suddenly everything stops-even time itself-if only for a brief moment. Suddenly out of nowhere, the thunder of a storm rumbles very far off in the distance. What might this represent? Remember the setting. Schubert is on his deathbed. At this point he knows death will arrive momentarily. What could this storm be? It is most certainly, death. The storm is the ideal of death, and so each time we are taken through wonderful memories (ex. The first modulation to Gb in the first movement, which I think could be reminiscing of childhood memories and purity of the heart back then), we are suddenly taken back and centered once again, as if death were saying to Schubert in a calm voice: "Herr Schubert, I am here, and no longer can you flee. It is time." This is why for so many reasons, it is important to take a moment of breath after each "thunder". Each time the trill strikes, we are hearing death speak. Throughout the first movement, we are sitting upon the shore beside Herr Schubert, and slowly but surely the storm arrives. As Schubert, as he has for the past 7 years, tries to run away from death, he knows deep down he cannot. In the second movement, death finally arrives. In what is one of the most hauntingly beautiful and transcendental musical pieces ever written, we are carried by an "attaca", directly into the second movement. This movement harkens to me as a painting. I see a lone and dark river, upon which is a long wooden canoe, in which Schubert gently paddles off into the distance. The left hand ostinato that persists is very much symbolic of the rowing of paddles alongside this gentle boat. In these days it was common upon death, to be put into a boat and pushed off into a lake or a still body of water. Here, Schubert comes to terms with death, after so many long years of suffering. Death comes, not as a terror, but as a comfort. The last two movements are mysteries to most of us. I've yet to meet anyone, even the great Andras Schiff, who fully knows what to make of these two movements. His theory for the scherzo is compelling, a transition into the unknown world. I tend to buy this, and in this interpretation, the scherzo must never be joyous. Schubert has so much torment, that there always must be the feeling of "looking over your shoulder", if you will. The instability of what is to come, because I don't think Herr Schubert knows, and the scherzo is acting as our boat across the river, if you will, to the final destination. We arrive at a great symbology in the last movement. We have in the opening the sound in the bass of horses. He is borrowing from his 3rd and fourth moment musicaux, here. What I would like you to pay close attention to, is two things: the dichotomy of the representation of the horse, and the use of the half step motive which ties us back to the "death ideal" in the 1st movement. The motive of a half step which represents the thunderstorm approaching in the first movement, is the cornerstone upon which this last movement is composed. Everything, upon everywhere, is reeks of death. Behind every seemingly, what would of been horse trot, Schubert now only hears the Erlkonig. The idea of death being represented in torment is in its use in horse symbology. The forte sections with the thunderous chords and the galloping of a horse at fortissimo, are surely the same horrorsbwe experienced in the Erlkonig, only now even more present. Every moment of illusion and peace, is turned starkly into a contrasting moment of horror. Every seemingly major mode moment, is transformed into minor. We climax the work in the neopolitan. The climax of this last movement, is in Cb major, from which we get the motive of the half step ascending as though trying to move toward heaven, however note the brevity of this climax. Schubert cannot manage to sustain it for long. He has a moment of what could be triumph, but quickly fades away into horror, only to hear the bell toll of death interrupting him. As we go into the presto section at the end, we are faced with a fierce galloping motion, which rises up very high, and then quickly descends into the pit of hell, as though Schubert has been grabbed and tied to the horse as it's galloping and is being pulled behind it, off to where his demise is, to which, he leaves us unresolved, wherever that may be.

@gradwhan 6 ай бұрын

Great but Schubert was Austrian not German

@HIPguy 6 ай бұрын

@@gradwhan exactly why I said "Like, a Great German Romantic" ;)

@oldschoolscores 7 ай бұрын

Reminds me of when my best friend Schubert dropped his banger sonata in B flat major

@HIPguy 7 ай бұрын

Oistrackh old old

@ladivinafanatic 7 ай бұрын

Bravo, very nice playing! Also I love the sound of this 1840 Conrad Graf Fortepiano.

@HIPguy 7 ай бұрын

It's a fabulous instrument. I'm so glad you enjoyed it. Great to have you in the discord

@FlexingClassicalMusic 7 ай бұрын

I find solace in the rich harmonies of classical music. It's as if each piece tells a story, and I get to immerse myself in those narratives. 🎶

@HIPguy 7 ай бұрын

❤

@JoshuaSobel 7 ай бұрын

Good voice leading with the bass voice in the last movement

@HIPguy 7 ай бұрын

❤

@satisfaction.9706 7 ай бұрын

Beautiful interpretation , I love the dynamic contrast you created which really brought out the inner melodic lines and thank you for making me listen to this piece for the time. I love it.

@HIPguy 7 ай бұрын

Thank you so much. I hope you will learn it one day

@sofronitskyscores 7 ай бұрын

Excellent!!!

@HIPguy 7 ай бұрын

Many thanks!

@HofmannScores 7 ай бұрын

Wow!!!! This is such a beautiful interpretation of this Schubert and I'm not even half way in. Very old school playing!

@HIPguy 7 ай бұрын

Thank you! 😊

@dindom-qc4jq 7 ай бұрын

Maybe the best recording of this next to Richter's. The intensity is massive, but there is utmost control. Stunning performance.

@ginajk8857 7 ай бұрын

Completely natural

@gunger1987 6 ай бұрын

My favourite! -SishFouper

@Dylonely42 7 ай бұрын

Merci d’avoir partagé votre interprétation de cette œuvre.

@HIPguy 7 ай бұрын

Merci à vous

@mpcpiano4306 6 ай бұрын

hay que ser una persona y un músico maduro para interpretar una obra como esas de esa manera. Realmente lo disfruté👏👏

@HIPguy 5 ай бұрын

Thanks!

@bladst3r661 7 ай бұрын

From 29:36 most relaxing part of Shubert

@HIPguy 7 ай бұрын

❤

@Eric-jo8uh 6 ай бұрын

I’ve always thought this piece to be so enveloping.

@zanhuang2440 7 ай бұрын

Beautiful!

@HIPguy 7 ай бұрын

Thank you!

@thinkofmusic37 7 ай бұрын

Schubert's D.960 is a testament to his genius in encapsulating profound emotions within the notes. The sonata's serene melodies interspersed with moments of introspection make it one of his most evocative works. As I journey through each movement, I'm constantly reminded of the fleeting nature of life and beauty. This performance managed to highlight the delicate nuances of the piece, making it an unforgettable listening experience.

@HIPguy 7 ай бұрын

Thanks!

@Whatismusic123 7 ай бұрын

Discuss your religion within your cult, not on youtube.