![]() The initial impression is one of spontaneous lyricism and natural melody, of simplicity, sweetness, and elegance. The first of the group, in D Major, is the most formal. Schubert, after all, was one of the last exponents of the Viennese Classical School of composition, and helped pave the way to musical Romanticism. Their innocent simplicity adds rather than detracts from their charm, being more reminiscent of the earlier Mozartean style than that of Schubert’s real hero, Beethoven. To call these sonatinas lightweight would do them disservice. Although he undoubtedly called these early works sonatas, they were published, after his death, as sonatinas, most likely to give them greater appeal for amateur musicians. He had already completed a large number of works, although his greatest compositions, including the late sonatas and quartets, “Die Schöne Mullerin,” “Winterreise,” and the Symphonies Nos. ![]() ![]() Schubert was barely 20 when, in 1817, he composed four sonatas for violin and piano. Yet the Viennese composer is best loved for his melodies and intense lyricism that fills not only his Lieder but his instrumental works as well. ![]() Unlike his Austrian predecessor, however, Schubert was neither a prodigy nor a virtuoso, and held no position of any prominence up until his death, at the age of 31, in 1828. FRANZ SCHUBERT (1797-1828): Sonatina No.1 in D Major for Violin and Piano (D.384)įranz Schubert composed more than 1000 works in his tragically short lifetime, even shorter than Mozart’s. ![]()
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