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History of Musical Styles
“Allegretto” from Franz Schubert’s Drei Klavierstucke, D.946
In Allegretto, the second movement from Franz Schubert's Drei Klavierstucke, the composer’s lyricism is created from a thematic process. Different sections with distinctive thematic characteristics are combined to portray different emotions. The lyricism and magic of this piece are created from using uncommon rhythmic arrangements, a unique form, the shifts between major and minor modes and how harmony supports the melody.
Written in May 1828, Drei Klavierstucke, D. 946 (Three Piano Pieces), is a curiosity amongst Schubert’s shorter works. It was written in the Schubert’s last year of his life, which was also one of his most productive. He composed including the famous last three piano sonatas, the song cycle “Schwanengesang” (Swan Song), “Winterreise” (Winter Journey) and “Shepherds on the Rock”. Comment by Sam Tobias: This is a good point but you need to explain why the piece is a curiosity (why is it different from the others)
Schubert’s original autograph manuscripts of this piece have no titles. Forty years after the pieces were composed, Johannes Brahms edited them for posthumous publication anonymously, for the purpose of giving all the credit to Schubert. It seems Schubert’s original intention was to add a fourth piece and issue these piano pieces as a third set of impromptus like other better known D.899 (Op.90), and D.935 (Op.142).
The form of the movement is ambiguous since it is sectional with many different ideas. At first glance, it seems like an impromptu form, but it is also related to an unusual, and unconventional rondo form, followed by A-B-C-d-B-A. The “A” section (m.1-31) is followed by the “B” section (m.32-79), and returns to the “A” section (m.80-110), the same way any rondo begins. Measures 111 and 112 are transitional in preparation for the significant “C” section, from measure 113 to 195. There is a fragmented, seemingly unrelated section within the “C” section, therefore, it will be referred to as section “D” (m.141-161) which is in B minor. Though the form has been unconventional throughout, Schubert returns to “A” section (m.196-end), finally satisfying his listeners expectations and giving a sense of closure.
In the “A” section, the theme is introduced in the style of a Venetian barcarolle, with some similarities to Mendelssohn’s Venetian Gondola. Op.30 No.6. Like Venetian Gondola, it begins with an upbeat, has an intimate character, a charming melody n the right hand, accompanied by steady 8th note pattern in 6/8 time. A time signature treatment with divisions began with the pedal point in E-flat, with straightforward and harmonic accompaniment on the left hand, which creates a steady movement. The structure of the melody, the first four measures, in the first two measures are in “I” of E-flat major as harmonic functions, where in measure 3 to 4 has not clear divisions and parallel voicings, along with an unexpected arrival of a cadential 6/4 (the first note of 4th measure), which creates an unresolved vocabulary, that led to continue the melody line.
In measure 5, the 6th beat has a passing colorful half-diminished vii of ii, where the setting it changed the quality from previous four measures, but it does not lead to ii as expected, instead, it arrives with a surprising V/V and V7/V in measure 6, the chord of F, B-flat, and D, the B-flat and D are used as a suspension function. The accompaniment arrangement in the left hand leads a change in character from the beginning of the piece, from a calmer, horizontal gesture to a more pedal-point, vertical-focused arrangement.
The quality changes in accompaniment in the left hand in measure 6:
In measures 7 to 9, where it would be expected to have V, V7, and V7/V harmonic setting to end a 4 bar phrase, Schubert instead uses a I6 chord on the fourth beat of the measure to add the harmonic extension in measure 7.
The surprising first inversion chord of E-flat major in measure 7:
Within measure 7 to 9, the usage of pedal point accompaniment on the left-hand starts with a descending melody on B-flat, G, F and back to B-flat on V. In measures 7 to 9, parallel motion occurs on the left hand.
The parallel motion in the left hand in measure 7-9:
The patterns lead to a conclusion to measure 9. The expectation is an 8 bar phrase with two groups of 4 measures. Using the captivating I6 harmonic function in measure 7, which Schubert breaks the rule to extend the phrase, which resulting as an innovative 9 bar phrase in a group of 4 measures and 5 measures. In the relatively-compact opening 9 measures, Schubert reveals his unique personality and sensibility within a melodic gondola tune.
Though measures 1 to 9 follow a basic I to V harmonic progression, Schubert creates interest by changing the qualities that would fit the context, gives a hint of the unpredictable harmonic association to come, that gives I to V progression a new vocabulary, just as Beethoven plays around with the I to V harmonic progression in his 5th symphony.
From measure 1 to 9:
In measure 19, the surprising appoggiatura (B natural and D), also has an accent marking to high lighten the spot. If Schubert had used D and F interval to continue the melody line, it inevitably would have become predictable and lost its effectiveness.
The appoggiatura with an accent:
In the section B, it modulates from Eb major to the relative C minor by device a common tone function of E-flat to pivot in measure 30-31:
The arrival of “B” section in c minor brings a change of meter, though not of pulse. In measure 32-33, the oscillating melody is elaborated by third intervals with lower and upper neighbor tones. This melody is accompanied by the written out tremolos on the left hand, which is supporting the I - V harmonic function. The vii diminished 7th chord within in the oscillating melody figure in the sixteenth notes group, which highlights the tonal neighboring function.
The vii diminished 7th within in the oscillating melody figure in the group in measure 33:
Groups of close intervals and blocked chords create the intimate setting which portrays the introverted character of Schubert. The two measure phrase in measure 32 and 33 (which returns in measure 59-60) with an accompaniment gesture on the left hand, lined up with tremolo notes that sound string-like.
The two measures phrase motive in measure 32-33:
In the right hand, E-flat is on the top of a minor third interval with C and thirds in groups of sixteenth notes, the thirds in the sixteenth notes group are considering as a tonal neighboring motion, rather than diatonically, Schubert device chromatics in the group as elaborating decoration of the third of C and E-flat. Comment by Sam Tobias: Yes, these are neighboring tones but also they also form a G triad with the bass on all the upbeats. It could be considered neighbor tones or it could be considered a repeated i V motion in Cm. I think that is something you would want to mention there.
In measure 34, the tritone (F#4) hints at the surprising forzando dynamics in measure 35. In the Romantic era, the sudden forzando is a symbol of mood shift and intensification. This device is a signature of Schubert that we can find other examples from his other piano sonatas. For example, in his A minor piano sonata, D.845, the first movement has similar dynamic shifts.
The tritone in measure 34:
In measures 40 to 45, Schubert demonstrates once again how to get the most out of a modulation. The bass pedal point starts on a Bb in measure 40, then moves to an A natural, confirming the arrival of an A major chord, acting as V of D major in measure 45. The Bb pedal point starts in measure 40, to A then to D on the left hand, the A major chord in measure 42 confirms the modulation, and then V7 leads it from c minor to surprisingly a D major arrival (at least from measure 44-45)
The pedal point in the left hand from measure 40 to 45, B-flat - A - D:
When the two bar phrase motive returns in measure 46-47, the entire section has a voice exchange from measure 32-33. The left hand takes over the motive, and the right hand does the accompaniment gesture. The first inversion arrangement in measure 46, i6 of d minor, it gives an uncertain feeling in the musical expression, compared with the root position entrance in measure 32, it is not firmly stable as root position.
The i6 chord of d minor arrival in measure 46:
By using modal mixture to pivot, Schubert modulates to D major from C minor in the repetition of transitioning in measure 44-45.
From measure 46-49 with a voice exchange:
In measure 46, the voice exchange from measure 32-33 returns. The left hand takes over the main theme, where it shifts from D major to d minor. Tonal meandering is a hallmark of Schubert. It arrives with an i6 in d minor, but the first inversion chord doesn’t sound as stable as the root position from measure 32 at the beginning of the “B” section.
The chromatically ascending octaves in measures 52 create an intensification to reach the climax, where the right hand plays trills urgently on the high notes. The blocked chords in the left hand in V7 – vii diminished 4/2 – V7 of c minor progression once again hinting at the return of C major in measure 59. hat reaches near the edge of the keyboard at the time, followed the descending C major scale on the right hand, the left hand plays V7, vii diminished 4/2 chords paving for the entrance to the quite C major section. The climax in measure 56: Comment by Sam Tobias: this picture was in the wrong place. I fixed it but make sure that makes it into the final version.
Right after the rapid C major transition, two bar motive in measure 59, Schubert conveys through the aid of a syncopated-like arrangement of the two bars motive (originally from measure 32-33). It carries the same idea to measure 62 to 63, the C-E third interval to B-G sixth interval sequential pattern shows a rhythmic displacement, with a thematic relationship with the two bars motive from measure 32-33.
The 3rd to 6th interval sequential patterns on the right hand in measure 62-63:
From measure 59 to 68, the rhythmic patterns based from the elements from measure 32 to 45 repeat where it returns back in an almost hymn-like texture and calm atmosphere.
From measure 68 to 79, the chromatic descending tremolo bass line from C – B to B-flat, it is leading to a transition before it returns back to the “A” section in E-flat major. Meanwhile, the third interval from E-G, D-sharp – F-sharp, and then to D natural – F- natural also creates a chromatic descending line, along with the bass line.
The third interval pattern from E-G, D-sharp – F-sharp, and D-natural – F-natural on the right hand in measure 69-79 (skipped the first repeat):
In measure 74, the diminished 7th of c minor, then with the same chord in measure 75, it became V in E-flat major in a preparation in return back to E-flat major. From measure 76, the B-flat bass is a pedal point to support the transition, with 8 smooth repeating block chords in D – A-flat – B-flat on the right hand with a harmonic function in V7, paving for the return back to the melodic “A” section.
The phrase repeats in measure 76 to 79 before E-flat major:
The expressive “C” section rhythmically keeps the pulse in 2 by altering it from 6/8 to 2/2 time. In measure 111 to 112, the enharmonic functions on E-flat transitioning from E-flat major to an unexpected a-flat minor.
The “C” section is large section in a style of Lied, a melodic figure, with an arrangement on the piano in a compositional style, where it outlines the melody line on the top notes on the right hand in quarter notes embedded with 8th notes accompaniment. The key area is in Ab minor, which is far away from E-flat major relations.
Throughout the romantic era and especially in the transition to this era, composers began to break away from some, not all, of the conventions established during the classical era to present different variations on old musical ideas and also to employ completely new ones. The transitional period into the romantic era and the era itself express a “freedom” from certain limitations that were prevalent during the classical era.
The Romantic era’s development was, like all other periods of music, gradual and was by no means a sharp break from the era prior: the classical era. Many classical elements of music can be found throughout the romantic music. The musical ideas presented during the classical era provide a type of foundation for the romantic era that followed.
In understanding these all-encompassing aspects of romanticism, one will be able to relate the small, individual aspects found in the compositions to the entire era. These romantic aspects are in many ways similar to those found in romantic literature and artwork. For example: much of the music written during and in the transition to the romantic era was inspired by nature. One of the greatest things that romantic music is known for, however, is its usage of experimentation.
Experimentation in Romantic era, with such musical elements as “structure, key relationship, emotional content, and sonority” can also be viewed chronologically through the sonatas. The experimentation witnessed in Schubert’s Allegretto from Drei Klavierstucke helps to show us part of the transition into the romantic era.
The fundamental elements of the Romantic era create expressions and variety in a definition or characterization. However, some important trends include an emphasis on creative expression over careful formal design, a preference for extraordinary for exotic subjects, an interest in bridging the boundaries between art forms, and an emphasis on originality rather than tradition. Franz Schubert (1797-1828) employed and device Romantic tendencies principally in his songs.
Schubert’s contribution to harmony was an important factor during the transition into the Romantic era. The other aspect of Schubert’s musical compositions that have proven to be a critical part in the development of romantic music and very unique to his style is his creation of “lyrical” melodies in his piano and other instrumental compositions. Schubert went further than Beethoven in creating melodies. As a statement, Schubert is credited with bringing the Lied into full development and a new world. Comment by Sam Tobias: What did he do differently from Beethoven?
Captivated by these new, “Schubertian” musical elements, Robert Schumann attempted to recreate many of them in his own compositions. Schubert’s musical influence did not end with Schumann. Frederic Chopin, regarded by many as the most famous romantic pianist, employed many Schubertian elements into his own piano compositions. Richard Wagner’s seven piano pieces (1831) are said to have “echoes of Schubert in them.”(Gregor-Dellin 1983) Comment by Sam Tobias: harmonic elements? rhythmic elements? form?
Many of Schubert’s works were not recognized during the time of their composition, with the exception of a very few, and some were not fully recognized until after his death. Therefore, to understand better the influence that Schubert had on romanticism, we should not limit ourselves to studying the early and immediate influences that Schubert had on composers for they are, for the most part, very limited. It is necessary to examine beyond these, on to the later influences in order to fully understand Schubert’s influence on the romantic era.
Reference
Newman, William. The Sonata in the Classical Era. New York, NY: W. W. Norton & Company, INC, 1983. pp. 5, and pp.477
Gregor-Dellin, Martin. Richard Wagner: His Life, His Work, His Century. New York, N.Y.: Harcourt, Brace, Jovanovich, 1983.
Gordon, Steward: A History of Keyboard Literature. Boston, M.A.: Cengage Learning, 1996
Term Paper
History of Musical Styles
“Allegretto” from Franz Schubert’s Drei Klavierstucke, D.946
In
Allegretto
, the second movement from Franz Schubert's
Drei Klavierstucke
,
the
composer’s lyricism is created from a thematic process. Different sections with distinctive
thematic characteristics are combined to portray different emotions. The lyricism and magic of
this piece are created from using uncommon rhythmic arrangements
, a unique form, the shifts
between major and minor modes and how harmony supports the melody.
Written in May 1828, Drei Klavierstucke, D. 946 (Three Piano Pieces),
is a curiosity
amongst Schubert’s shorter works
. It was written in the Schubert’s last
year of his life, which
was also one of his most productive. He composed including the famous last three piano sonatas,
the song cycle “Schwanengesang” (Swan Song), “Winterreise” (Winter Journey) and “Shepherds
on the Rock”.
Schubert’s original autograph
manuscripts of this piece have no titles. Forty years after
the pieces were composed, Johannes Brahms edited them for posthumous publication
anonymously, for the purpose of giving all the credit to Schubert. It seems Schubert’s original
intention was to ad
d a fourth piece and issue these piano pieces as a third set of impromptus like
other better known D.899 (Op.90), and D.935 (Op.142).
The form of the movement is ambiguous since it is sectional with many different ideas.
At first glance, it seems like an i
mpromptu form, but it is also related to an unusual, and
unconventional rondo form, followed by A
-
B
-
C
-
d
-
B
-
A. The “A” section (m.1
-
31) is followed by
the “B” section (m.32
-
79), and returns to the “A” section (m.80
-
110), the same way any rondo
Term Paper
History of Musical Styles
“Allegretto” from Franz Schubert’s Drei Klavierstucke, D.946
In Allegretto, the second movement from Franz Schubert's Drei Klavierstucke, the
composer’s lyricism is created from a thematic process. Different sections with distinctive
thematic characteristics are combined to portray different emotions. The lyricism and magic of
this piece are created from using uncommon rhythmic arrangements, a unique form, the shifts
between major and minor modes and how harmony supports the melody.
Written in May 1828, Drei Klavierstucke, D. 946 (Three Piano Pieces), is a curiosity
amongst Schubert’s shorter works. It was written in the Schubert’s last year of his life, which
was also one of his most productive. He composed including the famous last three piano sonatas,
the song cycle “Schwanengesang” (Swan Song), “Winterreise” (Winter Journey) and “Shepherds
on the Rock”.
Schubert’s original autograph manuscripts of this piece have no titles. Forty years after
the pieces were composed, Johannes Brahms edited them for posthumous publication
anonymously, for the purpose of giving all the credit to Schubert. It seems Schubert’s original
intention was to add a fourth piece and issue these piano pieces as a third set of impromptus like
other better known D.899 (Op.90), and D.935 (Op.142).
The form of the movement is ambiguous since it is sectional with many different ideas.
At first glance, it seems like an impromptu form, but it is also related to an unusual, and
unconventional rondo form, followed by A-B-C-d-B-A. The “A” section (m.1-31) is followed by
the “B” section (m.32-79), and returns to the “A” section (m.80-110), the same way any rondo