Classical Music | Piano Music

Recorded on 10/11/2005, uploaded on 01/08/2009

Musician's or Publisher's Notes

Allegro moderato; Andante; Allegro

The A Major Sonata was originally thought to have been composed in 1825, but now it is clear that Schubert composed the work in 1819 at the same time as his "Trout" Quintet.  Schubert wrote the sonata for Josephine von Koller, someone that the composer noted as being "very pretty"-a characteristic shared by this lovely piece.  Like the "Trout" Quintet, the work is song-like with the lyrical first movement, the plaintive Andante, and the charming and joyous finale.   Angela Jia Kim

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Piano Sonata in A major, D. 664 (op. 120)       Franz Schubert

Franz Schubert composed the Piano Sonata in A major, known as the "Little" A major, during the summer of 1819 which he spent in the Austrian countryside. Its nickname is used to distinguish it from the much larger A major Sonata composed nearly a decade later in 1828. Schubert dedicated the "Little" A major Sonata to Josephine von Koller whom he thought "very pretty" and a "good pianist."

Chief among the features of the "Little" A Major Sonata is its apparent effortless demeanor. Unlike some of Schubert's other sonatas, the "Little" Sonata makes no awkward technical demands of the performer. Furthermore, it shows Schubert, at last, championing the sonata form, which he struggled to master in his early works.

The first movement begins with a charming melody of Schubertian lyricism. This melody then passes almost seamlessly into the movement's second theme. Interestingly, the second theme pays a subtle rhythmic homage to the famous Allegretto of Beethoven's Seventh Symphony—one of many such references made by Schubert to his great idol. The development concerns itself with material taken from both themes. However, as both themes are cut from the same lyrical cloth, the usual sonata dichotomy melds into a graceful whole. The recapitulation presents few changes from the exposition and brief coda based on the first theme closes the movement.

The middle Andante begins with a homophonic texture and a rhythmic figure that permeates the rest of the movement. Even once the music breaks free of the restraining chordal texture, the ensuing melody embraces even more the prevailing rhythm. The Finale is a joyful and energetic movement in 6/8 meter. Forzando chords and chromaticism give it a jocular character. The movement closes with a brief lyrical restatement of the Finale's opening melody.      Joseph DuBose

Courtesy of International Music Foundation.