KNOW YOUR CLASSICS

New Zealand Listener, Volume 20, Issue 504, 18 February 1949, Page 20

KNOW YOUR CLASSICS

Tas is one of a further series of articles written for. "The Listener" by BESSIE POLLARD. As with the pteceding series, published some time ago, the aim is to help the student and the interested listener towards a more complete appreciation of good music. (9) Piano Sonata in C Minor, Op. Post. (Schubert) CHUBERT’S last four piano Sonatas (the G major, Op. 78, writen in, 1826, and the three posthumous works, written in 1828-the € minor, the A major, and the B flat major) have some characteristics in common, especially as regards formal planning; on the other hand, in style and content there is greater diver ty. The C Minor Sonata, the first of the three posthumous works, is often reminiscent of Beethoven’s style; certain passages of the opening Allegro recall the older composer’s Thirty-two Variations in C Minor, his Pathetique Sonata, and some of his last sonatas. The Adagio (in rondo form) and the Minuet and Trio again remind us of Beethoven, but the three, four and five bar phrases which make up the opening sentence of the Minuet are quite typical of Schubert. Schubert’s 6/8 Finale, with its flying triplets, the nimble alternations of major and minor broken chord figures, the sudden sforzandos and the cross hand passages, has many points of affinity with the last movement of Beethoven’s Op. 31 No. 3. While the Schubert Finale may be more discursive than Beethoven’s, it is nevertheless an exciting movement to play and to hear, The opening movement, Allegro, begins with a commanding figure-

At bar 21 we hear an agitated theme ("A" below) based on the opening bars of the movement; this is perfectly offset by a lovely, calm melody which begins in bar 39 ("B" below)-

The slow movement-Adagio-follows the outlines of Rondo form; its tender main’ theme ("A" below) has great emotional depth. Another majestic theme ("B" below) with. an undulating ses chordal accompaniment, recalls the Schubert of the lieder-

The Minuet and Trio is a graceful movement. Note the subtlety of phrasing in the first complete bar of the Trio ("B" below)-a rhythmic figure which persists in almost each bar of this section:

The exhilarating Allegro-Finale needs little comment. I quote the opening theme ("A" below), and one of the typical delightful digressions ("B" below, beginning in bar 113) which add such character to the Sonata as a whole.

The Sonata in C Minor, Op. Post., the fifth of a series of Schubert's Piano Sonatas, presented by Dorothy Davies, will be heatd from Station 2YA on Thursday, February 24, at 8.0 p.m.