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what struck me most about Schubert’s Piano
than its emotional impact, its technical
wizardry, from the start Schubert dazzles with
his prestidigitation, his manual dexterity, the
notes fly
working against the beat, apart from the fourth
movement, the rondo, Schubert is being
unequivocally Beethoven
the fourth movement is, incidentally, utter
Mozart, you can tell from the preponderance
of trills
texture, meanwhile, overcoming melody,
in, most notably, the third movement, is
right out of Chopin, his “Winter Winds“
for instance, an inspired combination
of both melody and texture, where is
the supremacy of either, listen, you tell
me, do the “Winds“ conquer the groans,
the tribulations, of the underlying melody,
the left hand, the low notes, the chthonic,
the earth, or does the dexterousness of
the right hand, the ephemeral, the
transitory, win the day
texture will overcome melody eventually,
as the century moves along, Impressionism
will prioritize perspective over emotion, the
head over the heart, Debussy, among
others, Renoir, Monet, Pissaro, will
dominate, see above, but that’s another
story
meanwhile Schubert
R ! chard