F. Schubert – Piano Sonata in G Major, Op. 78, D.894
What goes through the mind of a composer when they take a blank sheet of paper and begin to write a theme for a sonata? How does musical material come into being? Does a motif, rhythm, harmony, or perhaps a mood come to mind first? These are the questions that ignite the creative process, and today, we’ll explore them through the lens of Franz Schubert’s Piano Sonata in G Major, D. 894.
The Composer’s Dilemma: Originality, Adaptation, and Publication
The journey from the moment a piece is conceived to its publication is fraught with potential changes. An editor may decide to add slurs, dynamic markings, or even transpose the piece to a different key, fundamentally altering the original work. Schubert was not immune to such changes. For instance, his Impromptu No. 3, Op. 90, was once published in G major instead of G-flat major because the publisher believed it would be easier for amateur pianists. This practice of simplification or adaptation was not uncommon in the 18th century, where compositions were frequently arranged for various ensembles, often sacrificing the integrity of the original piece.
Schubert’s Piano Sonata in G Major, D. 894, also underwent significant changes. Originally titled “Fourth Sonata for Piano Only,” the emphasis on “only” suggests that Schubert intended to preserve the piece’s purely pianistic nature, avoiding the dilution that often came with transcription for other ensembles. In the 18th century, it was common practice to publish a work in multiple arrangements—such as for a symphony orchestra, piano duet, or string quartet—a work often not done by the composer but by assistants or the publishing house staff. As a result, the quality of these transcriptions could vary significantly.
Beethoven, for instance, complained to his publisher about this trend, asserting that his piano sonatas could only be faithfully transcribed by himself or someone with his level of skill and creativity. Despite Schubert’s intentions, his publisher Tobias Haslinger decided to release the sonata not as a single work but as four individual pieces. The sonata was rebranded with new titles: “Fantasy,” “Andante,” “Menuett,” and “Allegretto.” Haslinger, a shrewd businessman, likely anticipated that smaller, distinct pieces would be more appealing to the public than a large-scale sonata, especially given Schubert’s limited fame at the time.
Schubert’s World: The Man Behind the Music
At the time of publication, Schubert was 29 years old and had been suffering from syphilis for several years. The treatments, including painful bloodletting sessions, likely only worsened his condition. Although his music was well-known in Vienna, Schubert had not yet achieved widespread fame or financial stability. His compositions were often whistled on the streets of Vienna performed, with little recognition that the unassuming young man in glasses, frequent visitor of brothels and pubs, was the author. The song genre was still considered less prestigious than opera or symphony, and Schubert’s larger works were often not taken seriously, especially when compared to those of his idol, Ludwig van Beethoven.
Beethoven was a towering influence on Schubert. In his letters, Schubert expressed deep admiration for Beethoven and in conversations with his friends, Schubert admitted that he did not even dream of equaling the great master. Apart from that on his deathbed, Schubert requested to hear Beethoven’s String Quartet No. 14, Op. 131—a testament to the profound impact Beethoven had on him.
The Sonata’s Themes: Echoes of Beethoven and a Unique Soundscape
The opening chord of Schubert’s G Major Sonata immediately evokes specific associations, particularly with Beethoven’s Piano Concerto No. 4. The same chord, same tonality, and even the same third in the melody create an unmistakable link. Rhythmically, however, Schubert’s theme is more reminiscent of the trio from Beethoven’s Seventh Symphony. Such borrowings were a common practice among composers, and whether Schubert did so consciously or not is ultimately irrelevant. The soundscapes of these works are undeniably distinct.
Alfred Brendel, in his introduction to Schubert’s sonata, made a poignant observation: while Beethoven composes like an architect, Schubert composes like a sleepwalker. This is a fitting description, as Schubert’s music in the sonata has a dreamlike quality, characterized by a sense of tranquility and detachment from the world.
The first movement of the sonata is a masterclass in creating a sense of timelessness. The opening chord lingers, seemingly defying the constraints of time. Although Schubert precisely notates the rhythm, the long chords feel measureless and infinite. The music comes to a standstill, and in this moment, Schubert’s universe of sound feels boundless. Composer Dieter Schnebel claims in his essay that the primary impetus for Schubert’s creation of this theme is a soundscape filled with the color of G major, from which all themes and motives grow. This soundscape forms the foundation of the entire sonata, with G major repeatedly reaffirmed throughout. The
Evolution of the Sonata: Revisiting Schubert’s Manuscripts
The original concept for the second movement of the sonata was quite different from the version we know today. This can be seen in the score that Schubert sent to his publisher. The original manuscript has survived and is digitized in the archive of the London Library. It appears that after finishing the minuet, Schubert decided to rewrite the second movement, tearing out the old version from the manuscript and replacing it with the one we are familiar with today. However, the first and last pages of the original movement were reused as the end of the first and the beginning of the third movements, respectively. Perhaps Schubert was simply too lazy to rewrite these framing pages anew, or maybe he was being economical, as sheet music was not cheap at the time. Thanks to this quirk of the manuscript, we now have insight into how the second movement might have sounded. The preserved fragment reveals a theme that is rhythmically characteristic of Schubert’s music but was ultimately replaced by a more dynamic orchestral episode in the final version. This decision allowed Schubert to maintain a more distinct contrast between the first two themes, which was essential for the movement’s structure.
The Minuet and Finale: A Playful Conclusion
The theme of the minuet in the G Major Sonata also actively echoes the theme of the minuet from another of Schubert’s works, the unfinished Sonata in C Major, D. 840, known as “Reliquie.” The similarity between these two themes suggests that Schubert was revisiting ideas from his previous compositions, looking for new contexts in which to use them. The context of the G Major Sonata ultimately proved more suitable for the thematic material from “Reliquie,” and the theme from the earlier sonata found its place in the new work.
For the finale of the G Major Sonata, Schubert chose a rondo form. The refrain theme is full of humor, irony, and quirky effects. Despite its rhythmic similarity to the draft of the second movement, the character of the finale is quite different. The theme seems to spin in place, periodically grumbling and mocking itself. On Schubert’s instrument, the repeating chords in the finale would have been much easier to play, as the action of the Viennese fortepiano was lighter and more responsive than modern pianos.
The Instruments of Schubert’s Time: A Closer Look
Schubert’s music was composed with the instruments of his time in mind, specifically the Viennese fortepiano. These instruments had a delicate mechanism that allowed for a closer connection between the pianist’s fingers and the hammers, creating a more intimate and expressive sound. The Viennese action had a unique quality that distinguished it from the English action, which was the prototype for the modern piano. In the Viennese action, the hammer was not striking the strings directly but at a slight angle, giving the sound a distinctive character.
The fortepianos of Schubert’s time were much lighter and more portable than modern pianos. They had a different range of sound colors, with each register having its own distinct timbre. This variety of tonal colors allowed composers like Schubert to explore a wide range of expressions in their music, creating a rich and diverse soundscape.
One of the most significant features of the Viennese fortepiano was the moderator, a mechanism that allowed the player to soften the sound by placing a piece of cloth between the hammers and the strings. This feature was particularly useful for achieving the delicate, ethereal sound that Schubert often sought in his compositions. The moderator was used in the distant episodes of the G Major Sonata, marked with a triple piano dynamic, indicating the use of this special mechanism.
For those interested in delving deeper into this sonata, I recommend recordings by Wilhelm Kempff, Alfred Brendel, and András Schiff, as well as performances on historical instruments by Andreas Staier and Paul Badura-Skoda. These recordings offer a range of interpretations that highlight different aspects of Schubert’s genius.
Finally, while we can discuss this music at length, there is no substitute for the experience of listening. As the saying goes, talking about music is like dancing about architecture. So, let us listen to Schubert’s G Major Sonata, reflect on its themes, and appreciate the enduring legacy of this extraordinary composer.