Sonata in C major for piano four-hands, D 812 (Schubert)

Esterházy estate at Želiezovce, where Schubert wrote his Sonata in C major for piano four-hands

Franz Schubert wrote his Sonata in C major for piano four-hands, D 812, in June 1824 during his second stay at the Esterházy estate in Želiezovce. The extended work, in four movements, has a performance time of around 40 to 45 minutes. It was published as Grand Duo, Op. 140, in 1837, nine years after the composer's death.

Robert Schumann saw Beethoven's influence in the work, and thought of it as the piano version of a symphony. Joseph Joachim's orchestration of the work was performed from the 19th to the 21st century. From the second half of the 20th century the Sonata was however more readily appreciated as a piano piece with orchestral effects, like many other piano works by Schubert, than as a symphony in disguise.

History

Schubert in 1821, drawing by Joseph Kupelwieser.

In 1818 Count János Károly Esterházy de Galántha (German: Johann Karl Esterházy von Galánta) hired Schubert as music teacher for his daughters, Mária Terezia and Karoline, when the family was staying at their summer residence in Zseliz, at that time in rural Hungary.[1][2][3] Schubert was in Zseliz from 7 July to 19 November, around which time he wrote his Sonata in B-flat major for piano four-hands, D 617.[4][5][6] In May 1822, Schubert dedicated his Op. 8, a collection of four songs (D 702 [scores], 516 [scores], 586 [scores] and 539 [scores]), to Count János Károly.[1][7][8] Later that year the composer contracted syphilis, suffering from the condition for the largest part of 1823 and partially recovering towards the end of the year.[9] His Op. 30, the B-flat major piano duet Sonata of 1818, was published in December.[5][6] A few months later symptoms of his illness regained momentum.[9] In a letter of 31 March to his friend Leopold Kupelwieser, he describes the failure of his latest opera projects and voices his despair over his health situation.[10][11][12] In the letter he also mentions his latest chamber music compositions (the String Quartets D 804 and 810, and the Octet D 803), and his plan to write another Quartet, after which he adds:[10][11][13][14]

He ends the letter referring to his anticipated second visit to Zseliz:[15]

On 7 May Schubert attended the concert in which Beethoven presented his 9th Symphony.[16] Feeling in better health, he was in Zseliz by the end of the month, again as music teacher of the Esterházy family for the summer season.[2][8][9][17][18] Around this time his friend Moritz von Schwind wrote to Kupelwieser informing him that the composer had left for Hungary, planning to write a symphony.[14] The Deutsch catalogue lists three compositions, all for piano four-hands, which Schubert composed during his first couple of months in Zseliz:[19]

  • Sonata in C major, D 812: autograph parts dated June 1824.[20][21]
  • Eight Variations on an original theme, D 813 [scores], composed between late May and the middle of July.[17][22]
  • Four Ländler, D 814 [scores], composed in July.[2][23]

In the second half of July the composer wrote to his brother Ferdinand, starting with an analysis of the sorrow brought by his absence, followed by:[24][25][26]

This indicates that these pieces for piano four-hands were performed there and then, shortly after their completion by the composer, maybe even by the young countesses, his pupils.[2][17][27][28][29][30] By around July 1824 symptoms of Schubert's venereal disease were as good as gone, which they would remain for the next two years.[31] In August he writes to Schwind, again mentioning the Sonata D 812 and Variations D 813:[8][32][33]

The "attracting star" is interpreted as referring to Countess Karoline, who was going to turn 19 in September.[8][34] Still in August, Schwind wrote to Schober:[35][36]

A few weeks after Karoline's birthday, Schubert feels even more desolate than a month earlier when writing to Schwind – from the composer's letter of 21 September 1824 to Schober (who had left Vienna in 1823):[5][18][37]

Schubert returned to Vienna in October, in a carriage together with Baron Karl von Schönstein [de], a friend of Count Esterházy to whom Schubert had dedicated Die schöne Müllerin and who had participated, together with the composer and members of the Esterházy family, in music performances at Zseliz.[38][39][40] Some three decades later, after becoming a champion of Schubert's music, Schönstein wrote:[38][41][42]

Schubert in 1825, watercolor by Wilhelm August Rieder.

In the summer of 1825, Schubert stayed in Gmunden from early June to the middle of July, and in Bad Gastein from the middle of August till early September.[14][43][44] Contemporary correspondence of his friends makes clear he was working on a Symphony, later dubbed Gmunden-Gastein Symphony.[14][43][44] In March 1828, on the anniversary of Beethoven's death, Schubert gave his only public concert: its scale was somewhat smaller than the ambition he voiced in his letter to Kupelwieser four years earlier (only chamber music was performed), but it was a considerable success.[10][45] That same year he composed his last major work for piano four-hands, the Fantasia in F minor, D 940, which he dedicated to Karoline Esterházy.[37][46] In 1829, the year after Schubert's death, it was published as his Op. 103.[37][46] That year, some of the obituaries written by Schubert's friends mentioned a Symphony, composed in Bad Gastein in 1825, which was particularly liked by the composer.[14][43][47]

Movements

Title page of first edition[48]

The Sonata in C major, D 812, in four movements, is the most elaborate of the four-hands piano pieces Schubert wrote during his summer in Zseliz in 1824.[20][49][21] Performance time of the Sonata ranges from less than 37 minutes to over 47 minutes.[50][51]

I. Allegro moderato
In the Sonata's allegro moderato first movement, a sonata form in 2
2, the opening figure of the principal subject is shared by both pianists. This main theme consists of two phrases, each followed by a quiet cadence. The second subject, a melodious variant of the first, is presented in A-flat major in the secondo part, and is later shared by both pianists. The relatively short development section starts with a transposed version of the principal subject. In the concluding recapitulation, which has some striking modulations, the second theme is heard in a C minor tonality. The movement concludes with a broad coda.[2][52][53]
II. Andante
The Sonata's slow movement, in 3
8 time, is an andante in A-flat major. There is little complexity in the opening theme, but there is ingenuity in how both pianists imitate one another, with some daring harmonic clashes.[2][53]
III. Scherzo and Trio
The Scherzo movement is an allegro vivace with pianistic percussive dissonances. Its Trio is in F minor and has a straightfoward rhythm contrasted with a melody with phrases of different lengths.[2][53]
IV. Allegro vivace
The first theme of the extended allegro vivace finale, in 2
4, has the rhythm of a Hungarian dance and balances between C major and A minor. The second theme has a Dvořákian look and feel. Passages where the themes are divided between the two pianists are demanding for the performers.[2][53]

Reception

The Sonata D 812 was published after Schubert's death, in 1837, when it was printed with the title Grand Duo.[21][27] Schumann published his commentary, in which he described the work as a more feminine version of a Beethovenian symphony, in 1838.[25] Joseph Joachim's symphonic arrangement of the Sonata was premiered a few years before the piano duet version had its first public performance in 1859.[22] From the late 19th century to the second half of the 20th century it was thought possible that the Grand Duo was a piano version of the Gmunden-Gastein Symphony.[14][29] Piano duos performing the Sonata include Sviatoslav Richter and Benjamin Britten, and Daniel Barenboim and Radu Lupu.[27]

19th century

When Anton Diabelli published the Grand Duo as Schubert's Op. 140 on 29 December 1837, he dedicated the edition to Clara Wieck, whom he also gave Schubert's autograph of the Sonata.[22][28][48][54][55] A few months later, her future husband, Robert Schumann, wrote about the piece and its composer:[22][56][57]

Joachim's orchestration: start of first movement[61]

In 1855 Joseph Joachim orchestrated the Grand Duo on Johannes Brahms's instigation.[27][28][54][62] The arrangement was first performed in February 1856 in Hannover.[14][54] In Leipzig, Joachim's Symphony after the Piano Duo in C major was performed in 1859 and 1864.[63] Brahms conducted Joachim's version several times in the 1870s.[52] It was published as Sinfonie von Franz Schubert: Nach Op.140 Instrumentirt von Joseph Joachim ("Symphony by Franz Schubert: Orchestrated after Op. 140 by Joseph Joachim") in 1873.[22][54][64] Following in Diabelli's footsteps, Joachim dedicated his arrangement to Clara Schumann.[25][54][65] Joachim omitted the tempo indication for the 3rd movement, and replaced the Allegro vivace of the "Finale" movement by Allegro moderato.[54][66] In London, the Symphony after Schubert's Grand Duo was first performed in 1876, under Joachim's direction.[54]

Schubert's original piano duet version was premiered in December 1859.[28] The 19th-century collected edition of Schubert's works adopted the Sonata in the second volume of its 9th series in 1888, edited by Anton Door.[67] In the last decades of the 19th century there was a renewed attention for the Gmunden-Gastein Symphony: according to authors such as George Grove it was lost without a trace.[43][68] Others entertained the idea that the Grand Duo might be a piano version of that Symphony.[29]

20th century

Donald Tovey wrote about the Grand Duo in 1935, mostly reiterating Schumann's views, and further contributing to the conflation of the Gmunden-Gastein Symphony with the piano four-hands Sonata.[25][27][29][69] According to Tovey, Schubert's Sonata was void of pianistic characteristics.[27][69][70] Like Tovey, Bernard Shore found the work effective when orchestrated.[69][70] New orchestrations of the Sonata were provided by Felix Weingartner (c. 1934), Anthony Collins (1939), Marius Flothuis (1940–42), Karl Salomon (1946) and Fritz Oeser (1948).[14][25][29][54][70] Karl Ulrich Schnabel's arrangement of the Sonata for one pianist was published in 1949.[71] Arturo Toscanini recorded Joachim's orchestral version of Schubert's Op. 140 with the NBC Symphony Orchestra in 1941.[72][73] Another recording of Joachim's arrangement, by Felix Prohaska conducting the Vienna State Opera Orchestra, was released in January 1951.[54][74] Clemens Krauss conducted the Bavarian Radio Symphony Orchestra in a 1954 recording of Karl Frotzler's orchestration of the Grand Duo.[54][75]

In his 1958 biography of the composer, Maurice J. E. Brown writes that "the proportions of the [Grand Duo] suggest a symphony rather than a sonata," but he rejects the idea promoted by Schumann and Tovey that it would be a symphony in disguise.[76] Among other incompatibilities, the dates (i.e. 1824 for the Sonata and 1825 for the Symphony) don't add up for an identification of Schubert's Op. 140 with the Gmunden-Gasteiner.[29] When Schubert wrote a draft of a symphony down as a piano score he would title it Symphony: not so with the Sonata in C major, the autograph of which is not a draft but a fair copy, thus, according to Brown, representing the composer's final word on the matter.[29] Symphonic effects are legion in all of Schubert's piano compositions, the 1824 Sonata for piano four-hands being no exception in that regard.[29] Brown is unconvinced by the orchestral versions, which he sees as betraying the pianistic origins of the piece.[77] According to Brown, there is a difference in how Schubert organises a symphony and how he organises a sonata, the Grand Duo following the principles of the latter composition type: Brown illustrates that with a few comparisons between the four-hand piano composition and solo piano sonatas which Schubert wrote around the same time.[78] The arguments against the "symphony in disguise" proposition are summarized thus in the 1978 edition of the Deutsch catalogue:[22]

Arthur Gold and Robert Fizdale recorded the Grand Duo in 1955

The piano duet version of D 812 was recorded by:

René Leibowitz orchestrated the Grand Duo around 1965.[14][25][54] In 1986 Max Harrison [de] returned to the issue of whether the Sonata D 812 is rather pianistic or rather orchestral: he saw many passages, such as transitions realised with a filigree typical for Schubert's piano style, that proved too difficult to orchestrate convincingly, and only a few, such as pedal notes, which are helped by an orchestral realisation – but then, Schubert was far from the only composer using such long notes in compositions written for pianofortes that couldn't sustain a sound for very long.[28] In 1991, Raymond Leppard recorded his own orchestration of D 812.[14][105] Joachim's arrangement of the Grand Duo was, in the last decades of the 20th century, recorded by:

Schubert's autograph of the Sonata ended up in the Bodleian Library, as part of the Margaret Deneke Mendelssohn collection.[21][28] The New Schubert Edition published the Sonata in 1978, edited by Christa Landon [de].[112] Scholarship of the 1970s and the 1980s identified the Gmunden-Gastein Symphony with Schubert's last symphony, the "Great" C major Symphony, D 944.[14][25] In the late 1980s Schumann's contentions about Schubert's feminity started to attract attention from a different perspective: articles published in 19th-Century Music described Schubert as homosexual, to which the 1838 comments about the Grand Duo, published in the Neue Zeitschrift für Musik, were seen as corroborating evidence.[113][114][115] Joseph Horowitz published articles about the Grand Duo in the New York Times: in 1992 commenting on Leppard's recording of his orchestrated version, and in 2000 when Barenboim and Lupu had programmed the piano version of the Sonata for a Carnegie Hall concert.[27][116][117] According to Horowitz, the imitation of orchestral sounds is idiosyncratic of Schubert's piano style, and, in short, the four-hands piano work is, notwithstanding many symphonic characteristics and the difficulty to make it sound well on piano, no symphony.[27]

21st century

External videos
video icon Schubert: Grand Duo – Jonathan Plowright and Aaron Shorr[118]

Pianists recording the Grand Duo in the 21st century:

  • Claire Aebersold and Ralph Neiweem (2004)[119]
  • Duo Koroliov (2004)[120]
  • Evgeny Kissin and James Levine (2005; live; recording time: 40:49)[121]
  • GrauSchumacher Piano Duo [de] (2005; recording time: 37:15)[122]
  • Allan Schiller and John Humphreys (2007; recording time: 43:35)[123][124]
  • Duo d'Accord (Lucia Huang & Sebastian Euler; 2009; recording time: 38:42)[125][126]
  • Jonathan Plowright and Aaron Shorr (2012; live; video recording)[127][118]
  • Ismaël Margain and Guillaume Bellom (2012)[128]
  • Jan Vermeulen [nl] and Veerle Peeters [nl] (2016)[129]
  • Adrienne Soós and Ivo Haag (2018; recording time: 42:42)[130][131]

In his book on Schubert's Winterreise, Ian Bostridge writes that the scholarly discussions about whether the composer was homosexual died out some two decades after they began. Giving an overview of these discussions, Bostridge describes it as anachronistic to paste late 20th-century concepts about gayness to Schubert's early 19th-century world: androgyny, the femininity alluded to by Schumann, even homo-eroticism as in some of Goethe's writings (e.g. the "Ganymed" poem which was set by Schubert, D 544), belonged to that early Romantic world, without it being possible to conclude anything sexual (as in homosexual) with regard to the composer from that cultural environment. Schubert fell in love with Karoline Esterházy, like he had fallen in love with other women before, as testified in contemporary documents, some of which were additionally uncovered during the late 20th- to early 21st-century discussions about the topic, for instance by Rita Steblin. Another overview of the same topic, like Bostridge's from the middle of the second decade of the 21st century, is given in Julian Horton's Schubert: also this author sees overinterpretation in some of the 1990s analyses concluding on Schubert's sexuality.[132][133][134]

Of all the orchestral arrangements of D 812, only Joachim's remained as repertoire piece.[30][54] The Berliner Philharmoniker, conducted by Murray Perahia, performed it in a January 2013 concert.[14] Michael Stegemann [de], who wrote the programme notes for that concert, distances himself from the idea that Schubert would have unconsciously written for orchestra while composing the Sonata.[14] In a contribution published in 2016, Hans-Joachim Hinrichsen analyses the part of Schubert's March 1824 letter to Kupelwieser about paving his way to the grand symphony via chamber music compositions.[135] Hinrichsen writes about a caesura in Schubert's output, following that letter, in which the composer re-orientates from primarily vocal music (such as operas that had been rejected shortly before), to instrumental music, in preparation of reaching a wider audience via a symphonic concert.[135] The Sonata in C major for piano four-hands was the first major work after that caesura: according to Hinrichsen, Schubert's ambition was however not to learn how to write for orchestra (which he already knew how to do) via these chamber music compositions, but rather, how to write for a wider audience than his circle of friends (who would like whatever he composed).[135] Hence Schubert's yearning, by the end of the summer, to let the Viennese public judge the first results of this new approach, instead of the easy success in rural Hungary.[33]

References

  1. ^ a b Bostridge 2015, p. 60.
  2. ^ a b c d e f g h Anderson 2008, p. 3.
  3. ^ Newbould 1999, pp. 70–71.
  4. ^ Steblin 2008, p. 47.
  5. ^ a b c Harrison 1986, p. 2.
  6. ^ a b Deutsch 1978, p. 357.
  7. ^ Hall 2017.
  8. ^ a b c d Clive 1997, p. 45.
  9. ^ a b c Bodley 2016, p. 2.
  10. ^ a b c Hinrichsen 2016, p. 21.
  11. ^ a b Deutsch 1914, pp. 201–202.
  12. ^ Grove & Hadow 1908, pp. 301–302.
  13. ^ Feil 2016, p. 491.
  14. ^ a b c d e f g h i j k l m n Stegemann 2013.
  15. ^ Deutsch 1914, p. 202.
  16. ^ Anderson 1994, p. 4.
  17. ^ a b c Newbould 1999, p. 223.
  18. ^ a b Deutsch 1914, pp. 223–225.
  19. ^ Deutsch 1978, pp. 509–511.
  20. ^ a b Newbould 1999, p. 224.
  21. ^ a b c d Deutsch 1978, p. 509.
  22. ^ a b c d e f Deutsch 1978, p. 510.
  23. ^ Deutsch 1978, pp. 510–511.
  24. ^ Hayden 2008, p. 93.
  25. ^ a b c d e f g h Gibbs 1994.
  26. ^ Deutsch 1914, pp. 215–216.
  27. ^ a b c d e f g h i Horowitz 2000.
  28. ^ a b c d e f Harrison 1986, p. 3.
  29. ^ a b c d e f g h Brown 1958, p. 187.
  30. ^ a b "Franz Schubert: Symphony in C Major [Grand Duo] - Centre Symphony Orchestra". www.centresymphony.org. Retrieved 2019-03-25.
  31. ^ Bodley 2016, pp. 2–3.
  32. ^ Newbould 1999, p. 218.
  33. ^ a b Deutsch 1914, pp. 220–221.
  34. ^ Newbould 1999, pp. 217ff.
  35. ^ Leppard 1993, p. 285.
  36. ^ Deutsch 1914, p. 221.
  37. ^ a b c Grove & Hadow 1908, p. 303.
  38. ^ a b Newbould 1999, pp. 71, 217ff.
  39. ^ Deutsch 1978, pp. 489, 512.
  40. ^ Deutsch 1914, pp. 228–230.
  41. ^ Bostridge 2015, p. 61.
  42. ^ Schubert in love at figures-of-speech.com (2019-12-21).
  43. ^ a b c d Deutsch 1978, p. 535.
  44. ^ a b Grove & Hadow 1908, p. 304.
  45. ^ Grove & Hadow 1908, p. 313.
  46. ^ a b Deutsch 1978, p. 602.
  47. ^ Grove & Hadow 1908, pp. 304, 306.
  48. ^ a b D 812 Grand Duo pour le Pianoforte à quatre mains (op. post. 140) at schubert-online.at
  49. ^ Leppard 1993, p. 286.
  50. ^ a b Franz Schubert: The Complete Original Piano Duets at Muziekweb website
  51. ^ a b Clements, Dominy (2006). Franz SCHUBERT: Music for Piano Duet at www.musicweb-international.com
  52. ^ a b Anderson 1994, p. 5.
  53. ^ a b c d Harrison 1986, p. 4.
  54. ^ a b c d e f g h i j k l m Schlüren 2017.
  55. ^ Brown 1958, p. 186.
  56. ^ Brown 1958, pp. 186–187.
  57. ^ Schumann 1838.
  58. ^ Schumann 1838, p. 178.
  59. ^ Schumann 2018.
  60. ^ Horton 2017, pp. xi–xii.
  61. ^ Joachim 1873, p. 2.
  62. ^ Brown 1988, p. 8.
  63. ^ Dörffel 1884, p. 64.
  64. ^ Joachim 1873.
  65. ^ Joachim 1873, p. 1.
  66. ^ Joachim 1873, pp. 107, 132.
  67. ^ Door 1888.
  68. ^ Grove & Hadow 1908, p. 306.
  69. ^ a b c Tovey 1935.
  70. ^ a b c Shore 1950, p. 77.
  71. ^ Cone 1982, p. 135.
  72. ^ Schubert: Symphony No. 2 – Grand Duo, D. 812, orch. Joachim at Muziekweb website
  73. ^ SBT1370 at testament.co.uk
  74. ^ JOACHIM, J.: Schubert - Symphony in C major (Vienna State Opera, Prohaska) (1951) at Chandos website.
  75. ^ CD 05L109 at www.recordsinternational.com
  76. ^ Brown 1958, pp. 186–188.
  77. ^ Brown 1958, pp. 187–188.
  78. ^ Brown 1958, p. 188.
  79. ^ Paul Badura-Skoda, piano, Jörg Demus, piano at CHARM website
  80. ^ Diggory 2009, p. 199.
  81. ^ SCHUBERT, F.: Wanderer Fantasy / Impromptus, D. 899 and 935 / Moments musicaux / Sonata for Piano 4 Hands, "Grand Duo" (Brendel) at Naxos website.
  82. ^ Schubert: Music for Piano Duet at Presto Music website
  83. ^ Richter & Britten: Aldeburgh festival at Muziekweb website
  84. ^ Britten at Aldeburgh: Schubert Piano Duets at Muziekweb website
  85. ^ L' oeuvre pour piano à quatre mains de Franz Schubert at Muziekweb website
  86. ^ Schubert: Complete four hands piano works at Muziekweb website
  87. ^ Schubert: Works for piano four hands at Muziekweb website
  88. ^ Alfons and Aloys Kontarsky, pianos at CHARM website
  89. ^ Wigmore, Richard (2006). Schubert Works for Piano Duet in Gramophone.
  90. ^ Schubert: Sonata in C Major "Grand Duo" (Op. 140) at Townhall Records website
  91. ^ OCLC 233613356
  92. ^ Harrison 1986.
  93. ^ Schubert: Grand Duo & Sonata in B flat major at Muziekweb website
  94. ^ Franz Schubert: Works for piano 4 hands at Muziekweb website
  95. ^ Franz Schubert: Fantaisie D 940 at Muziekweb website
  96. ^ Schubert: The Piano Duets at Muziekweb website
  97. ^ Schubert: Vierhändige Klavierwerke at Muziekweb website
  98. ^ Franz Schubert: Piano Music for Four Hands at Muziekweb website
  99. ^ Schubert: Grand Duo – Variations D 813 – Marches militaires at Muziekweb website
  100. ^ Franz Schubert: Music for Piano 4 Hands at Muziekweb website
  101. ^ Schubert: Original-Werke für Klavier zu vier Händen at Muziekweb website
  102. ^ Schubert: Grand Sonata; Loewe: Grand Duo / Sima, Montgomery at www.hbdirect.com. Retrieved 2020-06-09.
  103. ^ Montgomery 2003, p. 39.
  104. ^ Duo Alkan – Schubert: Piano Works for Four Hands, Vol. 1 at AllMusic website.
  105. ^ Leppard 1993, p. 287.
  106. ^ Schubert: Symphonie No. 8 "Unvollendete" – Grand Duo at Muziekweb website
  107. ^ Brown 1988.
  108. ^ Schubert: Symphonies at Muziekweb website
  109. ^ Anderson 1994.
  110. ^ Franz Schubert: Orchestrated at Muziekweb website
  111. ^ Schubert at Muziekweb website
  112. ^ Landon 1978.
  113. ^ Horton 2017, pp. 29–86.
  114. ^ Bostridge 2015, pp. 63.
  115. ^ Brett 1997.
  116. ^ Leppard 1993, pp. 287–289.
  117. ^ Horowitz 1992.
  118. ^ a b Aaron Shorr at Royal Conservatoire of Scotland website.
  119. ^ Franz Schubert: Four-hand Works, Vol 2 / Aebersold, Neiweem at ArkivMusic website. Retrieved 2020-06-09.
  120. ^ Lück, Hartmut (2006). The Koroliov Series Vol. VIII (in German) at www.klassik-heute.de
  121. ^ The Carnegie Hall Concert: Schubert, Piano Music for Four Hands at Muziekweb website
  122. ^ Grand Duo: Schubert – Shostakovich at Muziekweb website
  123. ^ Anderson 2008.
  124. ^ Schubert: Piano Works for Four Hands at Muziekweb website
  125. ^ Schubert: Werke für Klavier zu vier Händen at www.hbdirect.com. Retrieved 2020-06-09.
  126. ^ König, Sixtus (2010). Duo d'Accord Schöne Welten (in German) at www.klassik-heute.de
  127. ^ Clips at www.jonathanplowright.com
  128. ^ Schubert at Muziekweb website
  129. ^ Schubert: Works for Four Hands at Muziekweb website
  130. ^ Brahms: Symphony No. 3, for 2 pianos; Schubert: Piano Sonata, D812 / Adrienne Soos, piano; Ivo Haag, piano at www.hbdirect.com. Retrieved 2020-06-09.
  131. ^ Janka, Rainer W. (2019). Piano Duo Adrienne Soós & Ivo Haag (in German) at www.klassik-heute.de
  132. ^ Horton 2017, pp. xiii–xvii.
  133. ^ Bostridge 2015, pp. 62ff.
  134. ^ Steblin 2008.
  135. ^ a b c Hinrichsen 2016, pp. 19–23.

Sources

  • Anderson, Keith (1994). Schubert Symphonies: Symphony No. 4, "Tragic", D. 417 – Symphony in C (Grand Duo, D. 812, orch. Joachim) (PDF) (liner notes). Failoni Orchestra, Michael Halász. Naxos. 8.553095.
  • Anderson, Keith (2008). Grand Duo in C major • Four Ländler • Variations on an Original Theme (PDF) (liner notes). Schubert: Piano Works for Four Hands, Vol. 5. Allan Schiller and John Humphreys (piano). Naxos. 8.570354.
  • Bodley, Lorraine Byrne (2016). "Introduction: Schuberts late style and current musical scholarship". In Bodley, Lorraine Byrne; Horton, Julian (eds.). Schubert's Late Music: History, Theory, Style. Cambridge University Press. ISBN 9781107111295.
  • Bostridge, Ian (2015). Schubert's Winter Journey: Anatomy of an Obsession. Knopf Doubleday. ISBN 9780307961648.
  • Brett, Philip (1997). "Piano Four-Hands: Schubert and the Performance of Gay Male Desire". 19th-Century Music. 21 (2). University of California Press: 149–176. doi:10.2307/746896. JSTOR 746896.
  • Brown, Maurice J. E. [in German] (1958). Schubert: A Critical Biography. MacMillan & Co.
  • Brown, Clive (1988). Schubert: Symphonie No. 8 "Unvollendete" – Grand Duo (liner notes). Chamber Orchestra of Europe, Claudio Abbado. Deutsche Grammophon. DG 423 655-2.
  • Clive, Peter (1997). Schubert and His World: A Biographical Dictionary. Clarendon Press. ISBN 019816582X.
  • Cone, Edward T. (1982). The Composer's Voice. University of California Press. ISBN 0520046471.
  • Deutsch, Otto Erich, ed. (1914). Franz Schubert: Die Dokumente seines Lebens und Schaffens [Franz Schubert: The documents of his life and work] (in German). Vol. II/1. Munich and Leipzig: Georg Müller.
  • Deutsch, Otto Erich (1978). Franz Schubert: Thematisches Verzeichnis seiner Werke in chronologischer Folge. VIII (Supplement) (in German). Vol. 4. Kassel: Bärenreiter. ISBN 9783761805718. ISMN 9790006305148.
  • Diggory, Terence (2009). Encyclopedia of the New York School Poets. Infobase. ISBN 9781438119052.
  • Door, Anton, ed. (1888). "Sonate: für das Pianoforte zu vier Händen componirt" [Sonata: composed for piano four-hands]. Pianoforte zu vier Händen: Ouvertüren, Sonaten, Rondos, Variationen [Piano four hands: Overtures, Sonatas, Rondos and Variations]. Franz Schubert's Werke: Kritisch durchgesehene Gesammtausgabe (in German). Vol. IX/2. Leipzig: Breitkopf & Härtel. pp. 66–117.
  • Dörffel, Alfred (1884). "Statistik der Concerte im Saale des Gewandhauses zu Leipzig" [Statistic of the concerts in the Gewandhaus hall in Leipzig]. Geschichte der Gewandhausconcerte zu Leipzig vom 25. November 1781 bis 25. November 1881: Im Auftrage der Concert-Direction verfasst [History of the Gewandhaus concerts in Leipzig from 25 November 1781 to 25 November 1881: As commissioned by the concert direction] (in German). Leipzig.{{cite book}}: CS1 maint: location missing publisher (link)
  • Feil, Arnold [in German] (2016). Metzler Musik Chronik: Vom frühen Mittelalter bis zur Gegenwart (in German) (2nd ed.). Springer. ISBN 9783476001450.
  • Gibbs, Christopher H. (1994). "About Schubert's Arrangers: Mottl, Liszt, Brahms, Joachim". American Symphony Orchestra. Retrieved 8 August 2016.
  • Grove, George; Hadow, William Henry (1908). "SCHUBERT, Franz Peter". In Fuller Maitland, John Alexander (ed.). Grove's Dictionary of Music and Musicians. Vol. IV. London: Macmillan. pp. 280–335. OCLC 407077.
  • Hall, Michael (2017). "Opus 8". Schubert's Song Sets. Routledge. pp. 85ff. ISBN 9781351755337.
  • Harrison, Max (1986). Grand Duo & Sonata in B flat major (liner notes). Hyperion. pp. 2–4. CDA66217.
  • Hayden, Deborah (2008). Pox: Genius, Madness, And The Mysteries Of Syphilis. Hachette UK. ISBN 9780786724130.
  • Hinrichsen, Hans-Joachim (2016). "Is There a Late Style in Schubert's Oeuvre?". In Bodley, Lorraine Byrne; Horton, Julian (eds.). Rethinking Schubert. Oxford University Press. pp. 17–28. doi:10.1093/acprof:oso/9780190200107.003.0002. ISBN 9780190606831.
  • Horowitz, Joseph (May 24, 1992). "A Symphony Is Where You Find It". New York Times. ISSN 0362-4331.
  • Horowitz, Joseph (November 26, 2000). "A Schubert Masterpiece in a Rare Package". New York Times. ISSN 0362-4331.
  • Horton, Julian (2017). Schubert. Routledge. ISBN 9781351549974.
  • Joachim, Joseph (1873). Sinfonie von Franz Schubert: Nach Op.140 Instrumentirt [Symphony by Franz Schubert: Orchestrated after Op. 140] (in German). Vienna: C.A. Spina's Nachfolger (Friedrich Schreiber).
  • Landon, Christa [in German], ed. (1978). "Sonate in C, D 812 op.post.140". Werke für Klavier zu vier Händen. Series VII: Piano Music (in German). Vol. 2. Bärenreiter. ISMN 9790006472093. BA 5514.
  • Leppard, Raymond (1993). "7. An Orchestration of Schubert's Grand Duo, D. 812". In Lewis, Thomas P. (ed.). Raymond Leppard on Music: An Anthology of Critical and Personal Writings. Pro/Am Music Resources. pp. 285–289. ISBN 0912483962.
  • Montgomery, David [at Wikidata] (2003). Franz Schubert's Music in Performance: Compositional Ideals, Notational Intent, Historical Realities, Pedagogical Foundations. Monographs in musicology. Vol. 11. Pendragon Press. ISBN 9781576470251.
  • Newbould, Brian (1999). Schubert: The Music and the Man. University of California Press. ISBN 9780520219571.
  • Schlüren, Christoph (October 2017). "Preface". Schubert, Franz / arr. Joachim, Joseph: Symphony in C after the Grand Duo D 812. Mainz: Schott.
  • Schumann, Robert (5 June 1838). "Aus Franz Schubert's Nachlaß" [From Franz Schubert's legacy]. Neue Zeitschrift für Musik (in German). 8 (45). Leipzig: 177–179.
  • Schumann, Robert (2018) [1854, 1888–89, 1891, 1914]. "Franz Schubert's letzte Compositionen"  [Franz Schubert's last compositions]. In Simon, Heinrich [in German]; Jansen, Gustav [in German]; Kreisig, Martin [in German]; et al. (eds.). Gesammelte Schriften über Musik und Musiker  [Collected writings about music and musicians] (in German). Vol. II. Wikisource. pp. 234–240 (1854), 108–112 (1891).
  • Shore, Bernard (1950). Sixteen Symphonies. Readers Union.
  • Steblin, Rita (2008). "Schubert's Pepi: His Love Affair with the Chambermaid Josepha Pöcklhofer and Her Surprising Fate". The Musical Times. 149 (1903). Musical Times Publications: 47–69. doi:10.2307/25434538. JSTOR 25434538.
  • Stegemann, Michael [in German] (2013). "Murray Perahia with works by Mozart and Schubert: Programme Guide". www.digitalconcerthall.com. Translated by Anderson, Phyllis. Berliner Philharmoniker.
  • Tovey, Donald (1935). Symphonies. Essays in Musical Analysis. Vol. I. Oxford University Press. OCLC 632992311.

Further reading

  • Grant, Aaron (2018). Schubert's Three-Key Expositions (PhD). Eastman School of Music. hdl:1802/34611.
  • Guez, Jonathan (Fall 2018). "The 'Mono-Operational' Recapitulation in Movements by Beethoven and Schubert" (PDF). Music Theory Spectrum. 40 (2). Oxford University Press: 227–247. doi:10.1093/mts/mty018.
  • Rosen, Charles (1997). "4. Schubert's inflections of Classical form". In Gibbs, Christopher H. (ed.). The Cambridge Companion to Schubert. Cambridge University Press. pp. 72–98. doi:10.1017/CCOL9780521482295.006. ISBN 1139825321.
  • Wieland, Renate; Uhde, Jürgen (2013). "Sonate C-Dur, Grand Duo für Klavier zu vier Händen op. posth. 140 D 812". Schubert: Späte Klaviermusik – Spuren ihrer inneren Geschichte (in German). Bärenreiter. pp. 204–236. ISBN 9783761823330. BVK 2333.

External links

Retrieved from "https://en.wikipedia.org/w/index.php?title=Sonata_in_C_major_for_piano_four-hands,_D_812_(Schubert)&oldid=1221853628"