They completely skip over Schubert's patented "quick-cross-over to flat-VI" in the first theme. It's even followed by-- you Schubert fans already guessed it-- a German sixth to sneak back to B-flat. So smooth.<p>Highlight reel.<p>Listen to the famous third movement of the String Quintet in C major. Where does it first modulate? You guessed it-- flat-VI. And after he stops on that German sixth chord, where do we go? Well, to G here, but that's just prep for the repeat signs back to-- you guessed it-- C major, baby! Yeah, Schubi ftw!<p>How bout the Unfinished Symphony in B minor-- where's that 2nd theme? Well ok, it's <i>regular</i> VI there but still... Schubert likes going to VI. It's his signature move. And if I start reading through one of his Lieder at random I bet I don't go 4 pages before hearing another such moment.<p>I like the idea of realtime notes, but you gotta have a pretty wide context for them to be anything more than an arbitrary collection of trivia for newcomers. That's a nice way of saying if you're a newcomer, you <i>got</i> to listen to <i>a lot</i> of music before things make sense. Just like you can dribble in one square meter of a basketball court and understand the game.<p>I mean, what could F# minor as a "distant key" possibly mean to a newcomer who hasn't had music theory? Without the context it's the musical equivalent of talking about some new software including "blockchain" technology. Maybe it means something significant. More likely in the context of mid-19th century harmony, it doesn't.<p>But if put on your Schubert jersey and get a season ticket, ask yourself-- how exactly <i>is</i> F# minor related to anything? Well, we started changing keys earlier by quick move to a sublime melody G-flat major. Any musician will tell you F# is just another way to spell G-flat. Wait a sec: Schubert took us to the <i>minor</i> version of that same key for the second theme. <i>Minor-flat-VI</i>. Holy cow!<p>Austria wins the championship! Austria wins!
This is in my opinion one of the greatest piano pieces ever written, but it can be difficult to engage with for the first time, since it really needs careful listening. I wanted to help people unfamiliar with the music to find a way into it, because it's so easy for it to just become background music.<p>Originally I wrote this to accompany my own live performances, but I think it's perhaps even more useful for helping people stay present with the music when watching online. Would love feedback!
Great performance from Mitsuko Uchida and really nice commentary on the side. It's the first time actually reading text describing the music for this piece, although I have heard it many times. The commentary brings new structure and context to feelings that I have found difficult to articulate before.<p>I also enjoy Murray Perahia's playing of this piece as well.<p>I can imagine this type of exercise would be very excellent way to really study and analyze a piece, because you're forced to rationalize the ineffable.
This is awe-inspiring. Thank you! It is so rare to see people who appreciate the late works of Schubert - even young professional musicians often find them too long and not "flashy" enough, which is partly why we rarely see them being played at any piano competitions.<p>I can see that Live Program Notes may be part of the future of classical music. Wishing you all the success!
If people liked this, this is actually the third in a series. Schubert wrote them in quick succession (as he knew his death was near) and some internal references within the series.<p>D958 D959 D960 are the numbers to look up.<p>Mitsuko Uchida (the featured pianist) is the go-to for Schubert recitals, her exquisitely sensitive touch is great for realising the lightness in Schubert's music which tends to switch between ironic, tragic and profound at a moment's notice while he grappled with the reality of his impending death.<p>Although currently I am listening to the Alfred Brendel recordings (who is another go to for Schubert).
I really love this. I showed it to my kids, though it didn't resonate as much for 7, 5, 3. Maybe someday.<p>As a novice pianist, I would love to see alongside the discussion some piano chords and progressions. That would be really fascinating to see with the commentary.<p>If you need help programming that part, I would be very happy to help.