In 1827, Classical/Romantic composer Franz Schubert (1797-1828) wrote eight solo piano pieces called impromptus. An impromptu is a musical work, usually for a solo instrument, that embodies the spirit of improvisation. His impromptus were published in two sets of four: Op. 90 and Op. 142 (which wasn’t published until after he died). These eight impromptus were some of the first solo
Schubert Impromptu Op. 90 No. 3
Fun fact: this Schubert impromptu is in G-flat major, but publishers changed it to G major when they first printed the piece. However, most performers prefer to play it in its original key.
Analysis
The first thing listeners notice about Op. 90 No. 3 is its incredible lyricism. Long, melodic lines sing over an arpeggiated accompaniment (reminiscent of a harp), creating an interesting rhythmic juxtaposition. The theme develops into a shadowy, dark middle section where the harmonies modulate constantly and the tension builds before returning to the reflective opening mood.
This impromptu starts with the A section, a beautiful song with perfectly balanced phrases and nocturne-like lyricism. It reminds me of a prayer:
The B section of the work is in the relative minor key of E-flat minor (1:50 in the video). It modulates to C-flat major (2:20) before heading over to E-flat major and back, and Schubert uses these quick modulations, deep rumbling bass motifs, and the longing melody to showcase pain and tension.
The A section returns at 4:02, repeating the ideas from the beginning combined with some of the pain of the B section. Schubert ends this impromptu with some reflective chords as the accompaniment slowly dies out.
A Musical Prayer?
Schubert composed this work the year before he died. I don’t believe the prayerful spirit of his Impromptu in G-flat major is a coincidence! The effortlessness of the melody, the tension and pain in the harmonies, and the peacefully flowing 8th notes all lend themselves to a man who understood life. Perhaps this impromptu was Schubert’s way of finding peace with his declining health.
The gflat major impromptu no 3-what an absolute
miracle! Along with the great C major quintet (particularly the slow movement) and the “Death and the Maiden” quartet. What more could you want?
Kind Regards
Martin Ralph-MELBOURNE
I agree, those are all wonderful pieces! Schubert really understood how to capture emotion in his music.
It’s not surprising that the Impromptu sounds prayerful: Just compare its first 3 1/2 measures with the first 2 1/2 measures (after entrance of the voice) of his “Ave Maria.” To me, there’s a striking similarity of melody, harmony, bass line and chord progression. See if you don’t agree!
Yes, I absolutely agree! What a wonderful comparison. Thank you for bringing it to my attention.
There is some people claiming that music from this period should be played at half the speed. How do you think that theory would affect the melodic line and the accompaniment’s flow and cadence? These guys argue that the composer’s intent is that we hear all lines, harmonies and resonance in detail. For me it is clear that in this peace Schubert wants us to hear that the arpeggiato accompaniment is just a a rumour; not that we hear every single note standing out. What do you think?
I think slowing it to half speed would greatly affect the piece as a whole. When I first started learning it, I always played it really slowly. But then my teacher had me speed it up, which allowed me to hear the melody, understand the mood, and float over the arpeggios. I do think it’s important to be able to hear each note in the accompaniment, though. This piece was written before the Romantic Era really took hold with lush, full sounds, and I think the delicate arpeggios lend themselves to a more Classical Era approach combined with characteristics from the early Romantic Era. So maybe my perspective is a combination of your thoughts and those who think the piece should be played at half speed.