Sonata Bb Major - Bass

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He had his first piano lessons with his older brother Ignaz, but left him immediately.

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He studied composition with Salieri from Schubert composed numerous songs, sacred works, stage works, choral works, chamber music, orchestral pieces, and piano music. Charles Rosen states that Haydn contributed to a new instrumental genre and Mozart made a contribution to develop it. The sonata became a larger scale design with the generation of Hummel, Beethoven and Schubert. The traditional sonata form in the classical period contains an exposition, development and recapitulation.

Usually, an exposition presents a main theme in tonic and a secondary theme in the dominant area; the two are connected by a transition. In larger sonatas, there is a closing theme area to finish an exposition. A development usually transforms the themes from an exposition, and its key scheme is unpredictable.

A retransitional section emphasizes the dominant chord in order to make a clear return to the tonic. The design of the recapitulation is similar to the exposition except that the secondary theme is in the tonic as well. There is often a coda to complete a sonata form. In the last sonata, D. This first movement is composed in the typical structure of sonata form: exposition, development, recapitulation and coda. The exposition has two main theme areas: the first theme and the secondary theme. The first theme area is divided into three different parts- theme 1a, 1b and 1c.

The secondary theme area has two different parts- theme 2a and 2b. This secondary theme area immediately follows the first theme area: there is no transition.

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The closing section consists of two parts: closing theme a and b. Also, there is no transition or bridge leading to the secondary theme area. This whole exposition presents each section as an individual group, rather than connecting them with transitional materials. The development transforms certain themes in the following order: theme 1b, closing theme a, and then theme 1a.

A monophonic descending scale begins and a long trill finishes the retransitional section. After this trill, a long pause leads to the recapitulation.

Sonata No. 6 in B-flat major, RV 46 - Double Bass & Piano

The recapitulation returns in the same format as the exposition: theme 1a, 1b and 1c; theme 2a and 2b; and closing theme a and b. The coda, which contains theme 1 material, completes the first movement. The key of Bb is known as one of the most lyrical keys. Schubert took this key seriously and treated it very carefully. Theme 1a begins with a simple chord progression, which produces a pure and innocent melody line. The first perfect authentic cadence does not resolve until theme 1b begins in m. As theme 1b follows, the key of Bb Major moves to Gb Major unexpectedly, which is a very remote key.

He hardly ever anticipates the kind of chromatic harmony that obscures the tonal outlines, but he takes great pleasure in traveling through remote keys, not as a means of producing dramatic tension, but just for the sake of the journey. However, the appearance of Gb Major is not new.

Sonata for bass clarinet & piano in B flat major

Stanley Sadie. Rondo Allegro vivace. Molto moderato. Andante sostenuto. Scherzo Allegro vivace con delicatezza. Allegro ma non troppo. Total Playing Time English German French. She is at her most persuasive in the central movements of D and the Scherzo of D Her playing is wonderfully selfless, and Schubert, like Mozart, often brings out its best qualities. There is an impromptu-like innocence about Pires's playing of those opening bars, as if a whim of an idea has just lighted on her.

But then, as Schubert develops his material and invests it with sinew, Pires takes her cue to give a beautifully proportioned account of the first movement -- lucid, poised and intuitively describing its emotional contours. The delicate, courtly gait of the theme of the Andante is deftly caught, the ensuing variations echoing Schubert's inventiveness in pianism that is opalescent and strongly defined.

The cross-currents of pulse in the scherzo are unexaggerated but lightly pointed up in such a way that their teasing emphases are subtly telling.

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And the happy bustle at the start of the finale unleashes a rondo that in Pires's hands strikes a miraculous balance between refreshing spontaneity and a thoroughly thought-through interpretative plan. If this all adds up to a performance that can be listened to again and again, with its colours and nuances never losing their capacity to conjure up the very essence of Schubert, the same is true of the B flat Sonata D The grandeur of the opening is the stimulus for a performance that embraces Schubert's expansive dramatic trajectory and holds its elements of contemplation and outburst in shrewd equipoise.

Pires's stillness and dignity in the slow movement are things of wonder; the scherzo and finale are magical studies of limpid finger work and refined tonal shadings. Truth to the music and Pires's personality come together on this disc to sublime effect. She is bold and delicate, fiery and introspective, her ever-changing touch colours the notes in so many different, vivid shades.

Yet the whole effort is always in the best of taste. I am seduced by Pires's powerful pianism, never too soft or too loud, always moving forward, yet sparkling with every contact between fingertip and piano key. Most importantly, these sonatas sing, which is always the essence of Schubert's beauty. This is Schubert made for the modern concert hall, yet still true to the salon.

I think we can call that good taste. Pires does little to "prettify" Schubert: her approach allows Schubert's dissonances their full due, and her own tone does not seek for the luxurious. On the other hand, the tender outpouring to life's hammer blows can, under Pires, assume a truly liquid and poetic character, easily reminiscent of his song accompaniments and aspects of the Impromptus. The darker sections, perhaps touched by the spirit of Beethoven, acquire a symphonic character in the extended coda.

The scale of the movement proves quite large, with Pires' once more applying the lion's paw to the contrasting textures, especially in the third and fourth variants.

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  7. The continual banter between fortissimo and pianissimo accounts for its genuinely excited character, which Pires realizes with devoted fervor. With the final chords of the first movement and its slightly meliorated trill, we feel as though some part of life's battle has been, if not won, accepted. Some fine bass tones emerge from Pires' graduated palette, not to mention Schubert's lovely symmetries of motion.

    If the weightiness of her touch impresses, it is the delicacy and brilliance of her virtuosity, especially in the scherzos, that delight, and the finales have a dancing joie de vivre and wit -- notwithstanding Schubert's sudden changes of temper -- that take the breath away. Here is a Schubertian still at the peak of her pianistic powers with the maturity of an interpreter who has lived with this music for a lifetime. She is particularly compelling in the great C major set of variations -- Andante, poco mosso -- that comprises the A minor sonata's slow movement.

    An enthralling disc. As soon as you hear the opening of the Piano Sonata A minor D you know this is the real deal, and that something special is happening. Pires's opening Moderato is measured, but things are already occurring which make you listen to the music with new ears. There is an intensity in the dynamics and in those repeated notes both in the inner lines and the melody which create something fresh; which makes one listen as if for the first time.

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    Pires gives this movement symphonic scale, moving with monumental stability of tempo through Schubert's massive and powerful statements, as well as moments of repose which are like sleeping beasts and passages of lyrical tenderness which turn the very furniture around us into malleable putty. As you may have gathered, I am very enthusiastic about this recording.

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    Pires makes her anti-interpretation standpoint clear and manages to create performances which are uniquely communicative and fresh, keeping the ageing ears of this listener agape and agog from beginning to end. Deutsche Grammophon's piano sound is very good and the acoustic is balanced perfectly, creating sufficient resonance without obscuring detail in any way.

    If you want to enhance your life with as "perfect" a Schubert piano disc as can be recommended, then let this be your Elysian Field. May From the first bars of Schubert's A minor sonata, D , Portuguese pianist Maria Joao Pires reminds us what a delicate, poetic and sensitive musician she is.