Franz Schubert
Piano Trios
One needn’t hesitate a second in assigning Schubert’s two piano trios to his best works. Both were written no later than 1827, hence one year before the composer’s death, and are typical works of his maturity: abounding in blissful melodies paired with formative power and profound depths of expressiveness. Whereas Schubert had sold the E flat major Trio op. 100 D 929 to the Leipzig publisher Probst (it appeared just after Schubert’s death, however), the B flat major Trio op. 99 D 898 did not make it to publication during Schubert’s lifetime.The Adagio in E flat major op. post. 148 D 897, which is reproduced in the Appendix and which has become known as Notturno, was most likely originally planned as the slow movement of the B flat major Trio. With its expressiveness ascending to darkest despair, Schubert possibly considered it as unsuited for publication.
It was not published until 1846; in the Appendix of this volume one will find Schubert’s first attempt in this genre, which he wrote at the age of 15 in summer 1812.
About the Composer
Franz Schubert
He is not only the inaugurator of the art song and its most important composer in the nineteenth century, but he also realized a compositional concept in his instrumental works that opposed Viennese Classicism. Underlying the “heavenly length” of his works is a configuration of time that does not function according to the principle of motivic development, but addresses the notion of lingering; modifications occur mostly not in continuous unfolding, but through sudden eruptions. His ornate songs contradict the ideal of simplicity in the Lied aesthetics of his time, and provide the basis for the art song of the nineteenth century, regarded as they were as exemplary by subsequent generations of composers; they are defined by complex harmonies, an integration of the idioms of instrumental music, semantic models, and a new relationship between text and music in which the poem as a whole is interpreted through the composition, rather than just through word painting. His immense oeuvre in spite of his brief life comprises 600 songs, including his two famous song cycles; seven complete and several unfinished symphonies (including the “Unfinished” in B minor); other orchestral works; numerous pieces of chamber music; fourteen complete and several unfinished piano sonatas as well as other piano pieces; dances for piano and four-hand works; six masses and other sacred compositions; numerous pieces for choir or vocal ensemble, especially for male voices. Although he also contributed to every genre of music theater and his friends predicted a career for him in opera, only two of his ten finished operas were performed during his lifetime, as was the incidental music to “Rosamunde.”
About the Authors
Hans-Martin Theopold (Fingering)
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