Schubert: Impromptus Op 90 (2 - 3)

Franz Schubert composed eight impromptus in 1827, but only two of them were published in the composer's lifetime: the first two of Opus 90. The remaining and the four of Opus 142 only saw the public light in 1857, thirty years after its composition. The Impromptu No. 2 of Opus 90, which we are now listening to, is part, together with No. 1, of that pair of impromptus that Schubert was able to see published.

It has been wanted to see in it a study, or the germ, of those that will come later from the hand of Chopin and Liszt (at the time, 17 and 16 years, respectively). The laborious task entrusted to the right hand supports this proposal. A very careful while lively articulation becomes essential to make this almost endless series of triplets in tempo allegro sound perfectly clear.

The rendition is by Grigory Sokolov.

Despite his frail health, Schubert's last year of life was prodigal in compositions, but this was not reflected in an improvement in his economic situation, mainly due to the stinginess of his editors. Even in 1821, when Franz's name already appeared in the newspapers and his "light" works were heard in the salons of the high aristocracy, the publishers were reluctant to publish his work. And to show something, when a group of Schubert's friends addressed to the editor Peters, in Leipzig, requesting him to publish certain pieces of Franz, he responded by pointing out:

"My effort goes to the already established artists, with whom I can earn more money ... the mission of revealing new talents is for another. The day the composer has made a name and his works are recognized, I will be the man who seek, because in this case, the publication of his works will come into my plans."
Nothing new under the sun.

The Impromptu 90-3 is undoubtedly the most beautiful in the series, as well as the most cherished by the audience and also by the pianists, because of its tender and serene singing, commissioned to the right hand that makes a "self-accompanying" with broken arpeggios in permanent mute so as not to turn off the melody. The left hand makes "trills" in the bass, when Franz deemed them necessary.

The rendition is by the Russian pianist Olga Jegunova.

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