Classical Music | Piano Music

Recorded on 11/29/2005, uploaded on 01/10/2009

Musician's or Publisher's Notes

Suggesting the air of an extemporized performance, the Impromptu as a musical form came about during the earliest days of the Romantic movement. The first known use of the word, in this sense, was in 1817 and was used by a publisher to describe a piano piece by Czech composer Jan Václav Voříšek. It is possible that the Impromptus of Voříšek were influential on Franz Schubert's own contributions to the genre much in the same way Chopin drew inspiration from the Nocturnes of John Field.

Schubert's Impromptus, published in two sets of four, were written in 1827. The first set was published during his lifetime while the second was published shortly after his death in November 1828. They are considered companion pieces to the Six Moments Musicaux, also composed around the same time.

The third Impromptu, in the key of G-flat major, is a prime example of Schubert's incredible melodic gift. Charming and serene, it is easy to see this Impromptu as a precursor both of Felix Mendelssohn's Songs without Words and Richard Wagner's concept of "endless melody." The broad melody, above an unbroken accompaniment of arpeggios, moves at a slow and steady pace. It is a perfect image of peaceful contentment. The left hand, throughout much of the piece, provides a firm harmonic support to the arpeggios and melody above, creating a rich and full sound. The middle section becomes more harmonically adventurous and moves through several modulations. The bass, as well, also becomes somewhat more lively with a rising triplet motif and occasional trill. However, the repressed vigor is soon abandoned as the opening section returns, rounding out the tripartite form of the piece.    Joseph DuBose

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Impromptu in G-flat major op. 90 (D. 899) no. 3       Franz Schubert

The word "impromptu", suggesting sudden inspiration, evokes the prevailing expressive mood of the Romantic era. While Schubert was not the first to use the title "impromptu" for a piano piece, his Four Impromptus D. 899 are examples of the flights of fancy possible within a short piano piece. The second Impromptu, in the key of E-flat Major, is cast in a relatively simple ternary form, allowing the contemplative emotional nature of the main theme to be juxtaposed with the passionate second theme.   A typical Schubertian lyrical melody over a rippling accompaniment characterizes the third Impromptu in G-flat Major.   Xiang Zou

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Courtesy of International Music Foundation.

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