How Schubert Creates Emotion - Composer Insights
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- เผยแพร่เมื่อ 27 มิ.ย. 2024
- We examine the opening section of Schubert’s famous Impromptu in Gb in order to discover how Schubert creates emotion. Starting with the melodic line we discover how the contour works and how the phrase design enhances the rises and falls in musical tension. We then consider how the harmony supports the melody and how the figuration of the accompaniment plays a significant role. This composer insights lesson illustrates how these elements are combined through the genius of Schubert.
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🕘 Timestamps
0:00 - Introduction to how Schubert creates emotion
1:50 - Playing the piece
2:40 - Melody
8:16 - Harmony
21:16 - Texture and design
25:09 - Conclusion
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Kind sir, I don't know what they are paying you at your job for music matters, you deserve millions for your knowledge and teaching skills and I loved this Schubert piece!
You’re most kind.
Dicovered that Schubert was only 31 when he died. Imagine what else he could have composed.
Absolutely!
@@frankspears4597 yeah why did he, who is my favourite composer, have to die so young :(
It’s a real pity.
One of my absolute favorites ! I enjoy playing it along with impromptu 2 and 4 opus 90!. I love Schubert's modulations, such a genius in his terribly short life!
Absolutely
Composer Insights are one of the great things about this channel along with the less talked about music theory concepts. I hope you get time to make more of these! 😀
There are more on the way
Wonderful lesson. What impresses me is that with all the interesting harmonic movement, the piece sounds inevitable and completely natural. Schubert doesn't call attention to his technique.
The mark of a genius at work
@@MusicMattersGBthat’s how you can tell the composer has an immense level of expertise. These advanced techniques are so familiar to him that he manipulates them perfectly, meaning he knows where to use them exactly where they belong, which produces the natural and inevitable sound of it, or in short the pure smoothness of the piece
Absolutely
The less the notes move, the more beautiful the melody becomes. A note that sounds for a long time carries its own poetry.
Absolutely
Schubert is emotion pure ❤
😀
I just love how you start out all (or at least most of) your videos with a cheery "Hi!"
😀😀
Ah, Schubert-absolute perfection. Thanks so much for another wonderful video.
Tremendous piece.
Constantly impressed by the exceptional content quality on this channel, huge thanks!
That’s most kind. Much more at www.mmcourses.co.uk
What a fantastic lesson, mr. Gareth Green! Thank you!
A pleasure.
Schubert's impromptu in G flat major and A flat major has to be my some of my favourite Schubert pieces, having played the latter.
Wonderful music
@@MusicMattersGB I love the modulation from A flat major to C sharp minor in the no.4 impromptu using enharmonic V7 chords, diminished 7th and augmented 6ths.
Tremendous colour
Thank you Mr. Green... fantastic breakdown of what Schubert had going on within this piece of happiness he wrote many moons ago... You Rock :)
You’re most kind.
Thanks for this! I've played this for years but am currently preparing to play it for the first time in a concert later this year (together with some Brahms intermezzi - 118 no.1 and 119 no.1 and no.2). Very helpful to see you dissecting the first page like this. Playing it "in chords", as you did before discussing the quavers, was so instructive for me when learning it - it was an invaluable way to get the outline of the piece, to feel its natural tempo, as well as to hear the more subtle changes. I've always wondered whether Schubert wrote the first sketch in that format and worked out the accompaniment after.
Absolutely. Hope your performance shapes up well.
Such excellent knowledge in analyzing the music of Schubert.
Glad it’s helpful. Much more at www.mmcourses.co.uk
Thankyou so much for this! I've learned so much...
A pleasure. Much more at www.mmcourses.co.uk
So well timed! I'm learning his impromptu in c minor, but this piece is next on my list. 😊
Excellent!
The first edition of the impromptus that I acquired (2nd hand) scored this impromptu in G major. Apparently this was something the publisher (Haslinger, I think decided on when it was published during Schubert's life. I think, like you do that the arpeggiated accompaniment flows more easily on the 'black' notes.
Absolutely
Thanks
Thank you
@Music Matters Beutiful music! Beutiful playing! But also beutiful sounds! May I ask, what piano you are using?
It’s a Roland.
Thank you for this. I really wish I had this analysis from my teacher when I learned this piece many years ago.
BTW, what is the time signature? That notation is unfamiliar to me - is it s strange Schubertian thing??
A pleasure. Yes, it’s a strange time signature to represent 4/2. The C with a line through it is 2/2, so there are two of those in each bar.
@@MusicMattersGB Thanks - an interesting notation. Also interesting that he felt no need to explicitly notate the compound timing (sextuplets) of the broken chord lines. But I guess it is pretty clear and unambiguous - and keeps the page cleaner.
😀
You improved the piece very subtly. You added a 9-8 appoggiatura underneath the 4-3. I had to rewind to see why the second sounded so much more expressive than the first but it's because you added a 9-8 underneath which I don't think is written. It improved it though! Tell Schubert that. 😂
😀
Hello I have a question. First off though I can't even begin to tell you how much I look forward to Composer Insights. Such clear easy to understand information always puts a new perspective on music learning for me. Thank you. Secondly I just finished a Duet for Violin and Cello and I'm working on some other chamber works at the moment but here's the thing. I had a motif play In my head yesterday morning and it's a symphony so I wrote it down just as quickly as I could. I was just wondering wha makes a symphony truly grand? Like Beethoven's first symphony also in C Major I was wondering what are some good examples of bending the rules of sonata form in symphoneys from classical giants? In other words wha makes a Beethoven or a Mozart symphony so memorable?? And thanks again and again for this chanel.
Thanks for your kind words. Good to have you with us at the recent livestream. In answer to your question you can expand Sonata Form eg by using two first/ second subjects or by using Sonata Rondo form, or by expanding the Development section, or by including a fugal structure. Those are a few starters.
Thanks!
😀
I've never seen a double cut common time before. Cut common time is 2/2 but I suppose double 4/2 which would make sense on how it's written but that's a strange time signature.
Also I find 7/8 really weird too for a different reason. It's an a irregular compound time, but is there actually another name for it because 6/8 is a compound duple time. Just wondered if there is one for 7/8?
7/8 is an example of an irregular time signature. It’s neither simple nor compound - hence irregular.
@@MusicMattersGB Oh I thought compound would've applied to it but I get that now.
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Schubert, the Sleep Walker.
😀
Compare the first impromptu to the Liebestraum of Liszt isnt it strange
Yes. Interesting comparison