1/29/2024 0 Comments B flat major d major![]() After an ornamental repetition of the theme, filigree fills the space before the arrival of the next thematic idea. The opening theme begins with a declamatory statement that descends over an octave from dominant to leading tone, and which is then answered by a thoughtful closing phrase. The first Impromptu, in F minor, unfolds as a sonata form, albeit without a true development section. Through this view is generally regarded as false-there are distinct differences and Schubert initially numbered them as five through eight, indicating a continuation of the first set-it nonetheless shows that enough planning was put into the set to create four independent pieces that together form a sound whole. Further suggesting this is the fact that Robert Schumann, a great admirer of Schubert’s music and insightful music critic, believed that Schubert may have intended the four pieces as a sonata, noting motivic connections and the close relationship of the keys used, particularly between the first and last of the set. Even in the moments where it may seem so, it would be foolish to assume such since with Schubert, as with the other great masters, the most profound statements are often achieved by remarkably simple means, and thus betraying the presence of forethought and conscious effort. Certainly, the title seems a little inappropriate as none of the eight Impromptus conveys an overwhelming sense of “off-the-cuff” performance that the title would otherwise suggest. In both cases, the title “Impromptus” was not given by Schubert himself but instead by his publisher, Haslinger. Written alongside the opus 94 Impromptus during 1827, the second set of four was not published until after the composer’s death.
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