Franz Schubert
Piano Sonata E flat major op. post. 122 D 568
In Schubert’s cheerful E flat major Sonata, the listener is unaware that the composer struggled for a long time to arrive at its final version. Initial sketches date back to 1817, then still in a three-movement version and in the key of D flat major; Schubert probably only completed the sonata shortly before his death. It was published posthumously in 1829. The E flat Sonata is one of Schubert’s lesser-known piano sonatas. But it is an enchantingly lyrical work. This is achieved by many fine shadings, the avoidance of any greater drama (all the movements end quietly and in a subdued manner), and a rocking, flowing triple meter in the outer movements. A single “heavenly length” ... The Preface by Schubert expert Andrea Lindmayr-Brandl and the detailed Comments section provide extensive information on the work’s genesis, the sources and variant readings. A further highlight of the edition is the fingering by the renowned Schubert interpreter Martin Helmchen.
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
Dominik Rahmer (Editor)
Dr. Dominik Rahmer, born in 1971 in Mainz, studied musicology, philosophy and maths in Bonn. He did his Magister Artium in 1999 and his doctorate in 2006 with a thesis on the music criticism of Paul Dukas.
From 2001 to 2011 he was employed at Boosey & Hawkes/Bote & Bock in Berlin, where he also worked on the Critical Edition of the Works of Jacques Offenbach (OEK). Since 2011 he has been an editor at G. Henle Publishers in Munich, with a particular focus on French and Russian music and works for wind instruments.
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