F. Schubert, Impromptu nr. 3 op. 90: phenomenological analysis
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ZANTOUT, Mira. F. Schubert, Impromptu nr. 3 op. 90: phenomenological analysis. In: Învățământul artistic – dimensiuni culturale, 23 aprilie 2021, Chişinău. Chișinău, Republica Moldova: Academia de Muzică, Teatru și Arte Plastice, 2021, Vol.1, pp. 64-65. ISBN 978-9975-3453-3-0 (PDF); 978-9975-3453-4-7 (PDF).
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Învățământul artistic – dimensiuni culturale
Vol.1, 2021
Conferința "Învăţământul artistic – dimensiuni culturale"
Chişinău, Moldova, 23 aprilie 2021

F. Schubert, Impromptu nr. 3 op. 90: phenomenological analysis

F. Schubert, Impromptum nr. 3 op. 90: analiza fenomenologică

CZU: 786.2:78.071.1(436)

Pag. 64-65

Zantout Mira
Academy of Music, Theater and Fine Arts
Disponibil în IBN: 1 octombrie 2021

Schubert, piano solo works, Impromptu, performance


Inventor of legendary tunes, Franz Schubert (31 January 1797 – 19 November 1828), Austrian composer of intimate charming melody that speaks of his life in (his beloved) Vienna (he wrote to his brother Ferdinand from Zceliz on August 24th 1818: „I look forward with immense pleasure to the moment at which the word will be 'To Vienna, to Vienna!'”) (1, p. 370), of his beautiful and turbulent times, his artworks with friends, and his heartbreak, chains of private emotions and political one, as was the period of war and revolution. No doubt, for him, the piano was a very personal instrument to express his inner feelings, which explains the large amount of his works that was devoted for piano instrument. Schubert's piano solo works numbered 610 (some pieces are lost, and some sonatas unfinished). His piano pieces, gathers the classical sonata form with a developed subjective melody. Schubert's piano compositions are rich in character, in details like sudden enigmatic shifts that creates dramatic music and sometimes requires difficult technical level. His piano works may holds features of unexpected chromatic passage that causes unsuitable fingerings, and his piano pieces are wealthy in expansiveness using harmony, they are pieces which requires an imaginative performance. Between Schubert piano pieces, are the two sets of Impromptus opus.90, and opus 142, composed in 1827 the very productive year of Schubert's creation despite he was in very poor health, and written months before his death. Historically the term Impromptu was a manner of performance, rather than a piano music genre. The origine of the word Impromptu as the Online Etymology Dictionary shows that Impromptu is a French word (1660s) where it meant 'extemporaneously', and French speakers picked it up from latin phrase (1650s) In promptu meaning 'in readiness' - without preparation. In the late of eighteenth and early nineteenth century, social gatherings started organizing artistic musical theatrical evenings, words and music were the initial part of improvisor to compose and sing, improvisation by the spirit of the moment; therefore appears the name Impromptu, but was never used as a title term of musical piece work until the early of nineteenth century. Schubert is profoundly alone, we were convinced about this, after we had played his third Impromptu nr. 3 opus 90, this profound feeling render the lyrical theme somehow imbued with the loneliness that suffuse his music Impromptu. We do see like if Schubert with this specific music free, was drawing his personal memories life, a kind of systematic nostalgia toward a past gone and will never comeback. For what is no more longer, is the most forcing in the romanticism worldview; from this point of view we do believe that Schubert's Impromptus became the model of Romantic music. In our actual examination, we are looking for specific points of performing the Schubert's Impromptu op. 90 nr. 3, in comparison between the choosen Master pianists in this article: Vladimir Horowitz, Sviatoslav Richter, Dinu Lipatti, Maria Joao Pires, David Fray, Khatia Buniatishvili. These points are: Tempo, Color of „toucher”, Additional individual arpeggios, Texture sound of triolet middle voice, The change of the original nuances in the score. We examines recorders, CD, videos and videos recital.

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