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Download Booklet 1 ] A Schubert Journey Fantasy in C major, D. 760 “Wanderer” llŶr williams 5 I. Allegro con fuoco, ma non troppo [6.18] 6 II. Adagio [6.51] CD1 [75.48] 7 III. Presto [5.02] Sonata in A major, D. 959 8 IV. Allegro [4.04] 1 I. Allegro [16.03] 2 II. Andantino [8.36] 9 Drei Klavierstücke, D. 946: No. 1 in E-Flat minor [9.43] 3 III. Scherzo. Allegro vivace [5.02] 4 IV. Rondo. Allegretto [12.36] CD3 [72.57] Sonata in C minor, D. 958 Sechs Moments Musicaux, Op. 94, D. 780 1 I. Allegro [11.08] 5 I. Moderato [5.25] 2 II. Adagio [9.09] 6 II. Andantino [6.45] 3 III. Menuetto. Allegro [3.23] 7 III. Allegro moderato [1.54] 4 IV. Allegro [9.23] 8 IV. Moderato [4.59] 9 V. Allegro vivace [2.05] Sonata in D major, Op. 53 D. 850 0 VI. Allegretto [6.53] 5 I. Allegro [8.57] 6 II. Andante con moto [12.54] q Drei Klavierstücke, D. 946: No. 3 in C major [5.30] 7 III. Scherzo. Allegro vivace [9.12] 8 IV. Rondo. Allegro moderato [8.51] CD2 [76.34] Sonata in B-Flat, D. 960 CD4 [64.13] 1 I. Molto moderato [21.10] Impromptus, Op. 90 D. 899 2 II. Andante sostenuto [10.37] 1 I. Allegro molto moderato [10.03] 3 III. Scherzo. Allegro vivace con delicatezza [4.05] 2 II. Allegro [4.52] 4 IV. Allegro ma non troppo [8.44] 3 III. Andante [6.34] 4 IV. Allegretto [8.08] Impromptus, Op. post. 142 D. 935 Sonata in A major, Op. post. 120 D. 664 5 I. Allegro moderato [9.37] 5 I. Allegro moderato [7.47] 6 II. Allegretto [6.22] 6 II. Andante [5.19] 7 III. Andante [12.05] 7 III. Allegro [7.15] 8 IV. Allegro scherzando [6.32] Sonata in A minor, Op. post. 142 D. 784 CD5 [73.42] 8 I. Allegro giusto [13.51] Sonata in A minor, Op. 42 D. 845 9 II. Andante [4.45] 1 I. Moderato [12.00] 0 III. Allegro vivace [5.48] 2 II. Andante, poco moto [12.27] 3 III. Scherzo. Allegro vivace [7.16] CD7 [72.53] 4 IV. Rondo. Allegro vivace [5.20] Sonata in C major, D. 840 Completion by William Bolcom 1 I. Moderato [16.47] Sonata in G major, Op. 78 D. 894 2 II. Andante [10.58] 5 I. Molto moderato e cantabile [13.49] 3 III. Menuetto (Allegretto) [6.23] 6 II. Andante [8.55] 4 IV. Rondo (Allegro) [9.44] 7 III. Menuetto. Allegro moderato [4.43] 8 IV. Allegretto [9.10] 2 Scherzos, D. 593 5 No. 1 in B-Flat [4.28] CD6 [69.13] 6 No. 2 in D-Flat [4.42] Sonata in B major, Op. post. 147 D. 575 1 I. Allegro, ma non troppo [8.05] 7 Ungarische Melodie, D. 817 [3.35] 2 II. Andante [5.49] 3 III. Scherzo. Allegretto [5.29] 8 Sechzehn Deutsche Tänze, Op. 33 D. 783 [10.58] 4 IV. Allegro giusto [5.03] 9 Allegretto in C minor, D. 915 [5.17] INTRODUCTION CD8 Transcriptions by Franz Liszt [70.58] LLŶR WILLIAMS Müllerlieder von Franz Schubert, S. 565 1 I. Das Wandern [2.01] “In a word I feel myself the most unhappy and B major of 1817 where one senses an assurance and 2 II. Der Müller und der Bach [6.21] wretched creature in the world. Imagine a man whose boldness of tonal experiment not found before in health will never be right again, and who in sheer his piano music. Perhaps the three earliest sonatas despair over this ever makes things worse and worse (on Disc 6) manifest the journey into Schubert’s 12 Lieder von Franz Schubert, S. 558 3 IV. Erlkönig [4.45] instead of better ...but I have tried my hand at several maturity: two pieces of a generally sunny disposition followed by the A minor D.784, written shortly after he 4 VII. Frühlingsglaube [3.42] instrumental things ... in fact, I intend to pave the way towards a grand symphony in this manner.” discovered he was suffering from syphilis and one of the most desolate of all his works. 5 6 Melodien von Franz Schubert, S. 563 VI. Die Forelle [3.37] : These extracts from a letter of 1824 epitomise to me the paradox of Schubert, the manic-depressive My Schubert recitals at Cardiff also featured several Schwanengesang von Franz Schubert, S. 560 composer. On the one hand his music has that of his Lieder as transcribed by Liszt which we have 6 VII. Ständchen [6.01] world-weary element of profound grief – ‘the most put together on CD8. The transcription, especially 7 X. Liebesbotschaft [3.04] wretched creature in the world’ – and on the other a that of ‘great’ music such as Schubert’s remains 8 III. Aufenthalt [3.40] life-affirming exuberance bordering on the manic that one of the few genres that is still frowned upon by 9 VI. In der Ferne [7.00] characterises the Wanderer-Fantasie and parts of the serious musicians even in the twenty-first century. I D major sonata D.850. would urge these people to consider Schubert’s own 0 Geistliche Lieder, S. 562. I. Litaney auf das Fest aller Seelen [3.26] variations for flute and piano on ‘Trockne Blumen’, While Schubert’s later piano music has a range of one of the most profound songs in Die schöne q 12 Lieder von Franz Schubert, S. 558: IX. Ständchen von Shakespeare [3.03] emotions that rivals Beethoven’s last sonatas, in Müllerin, and which he turns into one of the most the beginning of his career he perhaps lacked the outlandishly virtuosic things ever. Liszt’s versions are Winterreise von Franz Schubert, S. 561 assurance of the older composer, and he was less often admirably restrained by comparison. The songs w IV. Die Post [2.53] fastidious about destroying sketches and fragments. I have chosen tend to be either those where Liszt e VII. Der Lindenbaum [5.03] As a result there are a large number of unfinished employs the full resources of his pianistic prowess works and, therefore, the pianist has to make a to enhance the narrative – Erlkönig, Die Forelle – or 12 Lieder von Franz Schubert, S. 558 decision about where to start the Schubert odyssey. those where he manages to turn the piano from r II. Auf dem Wasser zu singen [4.48] Schubert himself made no effort to try and publish percussive machine into the most glamorous of t III. Du bist die Ruh [5.11] any of his sonatas before the great A minor D.845 of singing instruments – Litanei, Ave Maria. y XII. Ave Maria [6.21] 1825. I decided to start slightly earlier with the Llŷr Williams, 2019 7 Chronology of Works Work Year and month (where known) Erlkönig, D. 328 1815 Ave Maria, D. 839 1825 April Litanei auf das Fest aller Seelen, D. 343 1816 August Sonata in C major, D. 840 1825 April Die Forelle, D. 550 1817 to 1821 Sonata in a minor, Op. 42, D. 845 1825 Before end of May Sonata in B major, Opus post. 147, D. 575 1817 August Sonata in D major, Op. 53, D. 850 1825 August 2 Scherzos in, D. 593 1817 November Ständchen, D. 889 1826 July Sonata in A major, Opus post. 120, D. 664 1819 or 1825 Sonata in G major, Op. 78, D. 894 1826 October Frühlingsglaube, D. 686 1820 to 1822 Impromptus Op. 90, D. 899 1827 Summer / Autumn Fantasy in C major, D. 760 “Wanderer” 1822 November Winterreise, D. 911 (Die Post, Der Lindenbaum) 1827 February to Spring Sechs Moments Musicaux, Op. 94, D. 780 1823 to 1828 Allegretto in c minor, D. 915 1827 April Auf dem Wasser zu singen, D. 774 1823 Impromptus Opus post. 142, D. 935 1827 December Sechzehn Deutsche Tänze, Op. 33, D. 783 1823 to 1824 January to July Drei Klavierstücke D. 946 1828 May Du bist die Ruh, D. 776 1823 Sonata in Bb, D. 960 1828 September Sonata in a minor, Opus post. 143, D. 784 1823 February Schwanengesang, D. 957 (Liebesbotschaft, Ständchen 1828 August to October Aufenthalt, In der Ferne) Das Wandern, D. 795 1823 October to November (Die schöne Müllerin, Der Müller und der Bach) Sonata in C minor, D. 958 1828 September Ungarische Melodie, D. 817 1824 September Sonata in A major, D. 959 1828 September 8 9 All notes by David Truslove subject exposition is in the dominant, E major. The melody has been described as an answer to the The fourth movement, in C sharp minor, has a running, development section moves between C major and question posed by the sonata’s opening theme. It accompaniment in semiquavers in the A sections, and Simon Rees B major, and is based on a version of the second takes the form ABA – development – ABA – coda, while the central B section releases the tension. subject. The recapitulation returns to the tonic, and and is therefore in rondo-sonata form. During the Like the third movement, the Allegro vivace begins CD1 visits the tonic minor, before the coda builds on development, Schubert returns to C sharp minor in F minor and ends in F major, with passionate the opening theme, played more quietly, and the which has already made several appearances chords and a rapid movement. The final movement, 1-4 Sonata in A major, D 959 movement ends with delicate, pianissimo arpeggios in the sonata, another element that links the in A flat major, has a superficial simplicity that ascending and descending the length of the keyboard.
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