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Schweighofer Vienna, c. The delay in their discovery is closely linked to their profundity, their novelty and their originality. The piano Sonatas of C. Maria von Weber, for example, were much more quickly appreciated by the public. However, despite the brilliant style and the partly Schubertian beauty found in the Sonata in A-flat major these works have today fallen into almost total oblivion. The same thing has happened to the works of Hummel which are not without importance in this area, while their author was almost as appreciated as Beethoven during his lifetime.

Schubert surpassed these masters, and others too, in the substance, the elevation and the humanity brooke schubert perte de poids what he had to say and in his quest for structural perfection, for unity between form and content which, besides their differences in character, may not readily be compared on an artistic basis with Beethoven.

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We cannot easily avoid comparing Beethoven with Schubert: not only because they were contemporaries Schubert died one year after Beethoven but because both of them expressed in their piano Sonatas — even more than in their Symphonies — what were their most intimate thoughts and because they both left a collection of sonatas approximately the same size and importance. The Beethoven Sonatas were not an immediate success.

But even the greatest musicians Chopin for example came up against their roughness, indeed occasionally a banality from which even a Beethoven was not safe. No doubt he would have more readily accepted Schubert, if only because brooke schubert perte de poids in Schubert was an elemental structure and because his pianistic style often conveys an almost prophetic sense of timbral beauty.

All three of them, if must be said, were masterpieces of imposing proportions, whose genius contemporaries had to some extent already recognized see the contemporary criticism quoted in my detailed commentary on Sonata in A flat major Opus 42, D It was only after the death of Schubert that the other Sonatas appeared, sometimes at long intervals and for the last Sonatas not until !

For he had no source of revenue other than that which came from the sale of his compositions.

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It is interesting to note, in this regard, that for two of these Sonatas we have two surviving versions, one partly incomplete and another extremely developed Dopus post. A publisher had probably enlighted his hopes for publication, which was not however to be finally realised until after his death.

When eventually a collection of eleven Sonatas appeared, which still represents for many music lovers today the complete Sonatas of Schubert, people began to make comparisons with those of Beethoven which had long been established in musical circles. Rarely has so much stupidity been written about music as brooke schubert perte de poids the commentaries produced around This is just about as legitimate as calling Leonardo da Vinci a secondrater brooke schubert perte de poids he was not Michelangelo!

This was also the case with Beethoven as well as with Schubert and often involved problems with the middle parts. But while critics close their eyes benevolently to the little blunders of Beethoven, they examine them with a fine toothed comb in the case of Schubert who was accused of being not as good a pianist as Beethoven — which must indeed be acknowledged.

But what does this have to do with the composition? We know that one of the worst pianists among all the great composers was Maurice Ravel — and nobody has ever brooke schubert perte de poids him for writing badly for the piano.

But Maurice E. It is true that any pianist will have some difficulty in finding a sense of the sonority in certain accompaniment figures like the Alberti basses or broken chords in close position in the first and last movements of the final Sonata in B flat major. But any attempt to improve them, following the model of Chopin, in order to give them a more beautiful sound, would be like altering in an illegitimate way the whole conception.

No, there is nothing to arrange nor anything to deplore. People simply were not interested in Schubert.

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Schubert died at the age of Any comparison with Beethoven is valid only if we first ask the question: where was Beethoven at the age of 31 in his Sonatas for piano? He had already written a good number of them, perte de poids conseils sains is true, including a few masterpieces.

What the two finales have in common is a bright, cantabile first subject, immediately repeated in the low register while the right hand adds decorative triplets above.

Its repetition happens not in the bass, but in the tenor and it is conceived in three parts not in two, brooke schubert perte de poids triplet figures being not systematic but merely delicate contrapuntal structures. The two Sonatas then offer a varied repeat of the exposition and a development which presents minor key harmonies.

But Beethoven did not die in ; he lived on for another 26 years and wrote his greatest piano Sonatas only late in his life. Schubert did not have the opportunity of experiencing this evolution. We can only really make a comparison with what he actually composed. It must be! The difficulty of interpreting Schubert well has been much discussed. In his writing Alfred Brendel has said some excellent things on the subject of interpreting Schubert. The aim is achieved when the effect which we produce upon our listeners is similar to that which Schubert produced on his.

We had several meals there in the company of that quiet young man and his favourite singer, the tenor, Vogl. The latter, already quite old brooke schubert perte de poids full of fire and life, had practically no voice left — while Schubert, despite his honourable competence, was far from being a master of the keyboard.

Vogl knew how to make us forget his lack of voice through the most ardent and most appropriate expression, while Schubert accompanied — as one should accompany.

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The pieces followed one another — we were insatiable — the performers indefatigable. I still have before my eyes the vision of my fat old master sitting in a comfortable armchair behind the piano — he spoke little, but the tears flowed down his cheeks. As for my own feelings I cannot describe brooke schubert perte de poids.

Deutsch, Franz Schubert.

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Die Erinner. Another surprising fact is that it was at approximately the same age that Mozart, an even more precocious genius, composed the first of his sonatas for the piano which have survived, having already written a number of operas, symphonies and piano concertos.

It seems as if the piano sonata form posed for composers particular maçon de perte de poids oh, perhaps directly relating to the issue of dealing with a unique solo instrumental timbre. But the young Schubert rose to the challenge; from the start his sonatas were quite independent from any model, affirming his individual and recognizable style.

The Sonata in E major, following only a week after an incomplete sketch D begins with an assertive ascending theme. The same kind of theme had already been exploited by Mozart for example in brooke schubert perte de poids Sonata in C minor. But what immediately distinguishes Schubert from his contemporaries is the extent of the perfect chord motif which rises over more than three octaves. The idea might have seemed banal if it were not compensated by a genial sequel which had not appeared in the first sketch which contains the seed from which all the other themes of this movement grow; both the second subject and the final theme emerge from this motif although they are made distinctive in their more gentle character and different accompaniment based on regular figuration.

The development section, also built on this motif, abounds in its energy.

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There follows a slow movement of touching sadness, the best movement written thus far by Schubert in its perfection of form and pianistic style. All these movements have one feature in common: in the final reprise of the rondo A2 the rhythm of the preceding episode C continues to be heard in the accompaniment.

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After the elegiac ending of this Andante, brooke schubert perte brooke schubert perte de poids poids joyful Scherzo Schubert still calls it Menuetto in accordance with traditional usage immediately returns to the mood of the opening. The Trio, in the mediant key of G major, curiously presages that of the Sonata D which Schubert was to 16 write ten years later in Gastein: the same G major in both cases and the same melodic outline B-E-D over repeated chords.

But in this youthful sonata the theme is quicker and an octave higher, like the voice of a boy compared to that of a man. The second section of the Trio, however, is altogether different in conception: instead of the invocation to the almighty that we find in the Gastein Sonata we have a journey through dreamlike, sensuous visions — like a cello solo below high strings or wind instruments, a premonition of the Wagnerian world… What a surprise!

But what could really follow?

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Perhaps Schubert was himself aware that with its three movements this Sonata was well and truly finished, just like the Sonata in B flat major, Dwhich ends in the dominant key — not to mention the famous Unfinished Symphony. The greatest difference between the first two works involves the mastery and conception of the first movement. Here the themes have become more personal and the language has gained at the same time subtlety and virtuosity.

Up to this point, the exposition proceeds in a quite classical manner, apart from the dissonances in the transition section.

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