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The compositions for violin and piano D 384, 385 and 408 were named Sonata in Schubert's autographs. [ 5 ] [ 6 ] They were named Sonatina when published posthumously as Op. 137 in 1836. [ 7 ] Since these works are modest in size—rather to be compared to Mozart's violin sonatas than to Beethoven's —the "Sonatina" diminutive stuck to them.
[1] 15 sonatas — numbering of the piano sonatas according to Franz Schubert's Werke: Kritisch durchgesehene Gesammtausgabe – Serie 10: Sonaten für Pianoforte (Leipzig: Breitkopf & Härtel, 1888), the first publication that claimed to print the complete set of Schubert's piano sonatas. The Deutsch catalogue was yet to be created, so there ...
D 28, Trio in B ♭ major for violin, violoncello and piano, Sonatensatz (1812; an "Allegro" movement is extant) D 384, Sonata in D major for violin and piano (1816, 2 versions of the first movement are extant; first published as Op. posth. 137 No. 1) D 385, Sonata in A minor for violin and piano (1816, first published as Op. posth. 137 No. 2)
In 1827, Schubert wrote the song cycle Winterreise (D. 911), the Fantasy in C major for violin and piano (D. 934, first published as op. post. 159), the Impromptus for piano, and the two piano trios (the first in B-flat major (D. 898), and the second in E-flat major, (D. 929); [86] in 1828 the cantata Mirjams Siegesgesang (Victory Song of ...
The piece was probably commissioned by Schubert's friend Vincenz Schuster, who was a virtuoso of the arpeggione, an instrument which had been invented only the previous year. By the time the sonata was published posthumously in 1871 , the enthusiasm for the novelty of the arpeggione had long since vanished, together with the instrument itself.
Franz Liszt later transcribed the entire set for solo piano. While staying faithful to Schubert's original, he often changes the piano texture as a way of providing a personal commentary on the text and music. Liszt reordered the songs in the following way: 11, 10, 5, 12, 7, 6, 4, 9, 3, 1, 8, 13, 14 and 2.