Thursday May 5th 2011 Imogen Cooper

SCHUBERT: Piano Sonata in C Minor D958

SCHUBERT: Piano Sonata in B flat D960

The last Piano Sonatas                                                Franz Schubert (1797-1828)        

                                                                                                                                                                         Schubert’s great ambition in his last years was to establish himself as a successor to his hero, Beethoven. Beethoven’s death in March 1827, and Schubert’s meeting at about the same time with Johann Nepomuk Hummel, then at the height of his fame as a pianist and composer, seem to have re-awakened his ambitions to compose large-scale instrumental music. During the last few months of his life he set himself an astonishing work-load, producing not only his last three piano sonatas but also the String Quintet, as well as working on sketches for a projected Tenth Symphony.

He numbered the sonatas 1 to 3, intending to publish them as a set to rival similar sets of sonatas by Beethoven. The autograph score is dated September but the various drafts suggest that he worked on them over a period of some months before that. He wanted to dedicate them to Hummel, but by the time the publisher Anton Diabelli finally issued them in 1837 both Schubert and Hummel were dead, and they were dedicated instead to Schumann.

Piano Sonata in C minor, D958                                                                                                    

1. Allegro; 2. Adagio; 3. Menuetto. Allegro; 4. Allegro.

The C minor Sonata, the first of the group, is the one most strongly influenced by Beethoven. The associations of this key with the sombre and turbulent mood of the music is one often met in Beethoven; the opening theme resembles that of Beethoven’s 32 Variations in the same key. But Schubert cannot help being Schubert even when he is trying to be like Beethoven. The sonata is full of his typical sudden far-reaching key-changes, to particularly poignant effect in the finale.

The first movement is based on three themes. The powerfully chordal first theme climbs impressively through almost three octaves before plunging back down again. The second theme is a more lyrical tune, while the development section introduces, in the bass, a dark chromatic idea which curls back on itself, and which forms the basis for the unsettling coda.

The second movement is a slow rondo which, between the appearances of the main theme, moves away from A flat into the remote keys of E major and A major. The emotional range is equally wide, veering between tenderness and violent passion.

Instead of a vigorous scherzo third movement, Schubert writes a subdued minuet. Irregular phrase-lengths, unexpected silences and a wistful trio section all help to give it a veiled, haunting quality. The finale is a sonata-allegro on a huge scale, driven by a relentless galloping rhythm that scarcely lets up from beginning to end. Again the music swings through a variety of distant keys. The development, for example, begins in a B major whose pale light suggests a memory of lost happiness. The end of the work is quiet, but for the two brusque chords which bring the music’s tireless forward drive to a halt.

Piano Sonata in B flat, D960

1.Molto moderato; 2.Andante sostenuto; 3.Scherzo. Allegro vivace con delicatezza; 4. Allegro, ma non troppo.

The B flat Sonata, the last of the set, is an expansive work on a broad scale and, of the three, is the one that most reveals Schubert’s experience as a song-writer.

The first movement is characterised by its broad, singing opening theme, which goes on its unhurried way apparently indifferent to the disturbing trills low in the bass and the sudden pauses which surround it. As the movement proceeds the music repeatedly moves in and out of unexpected keys, to marvellously spacious effect.

The slow movement is one of Schubert’s most profound meditations, full of tender resignation and a sense of time suspended. It is followed by one of his lightest, most gracefully airborne scherzos. It is marked to be played delicately, with characteristic shifts from major to minor and back. After a sombre trio section, the opening returns with the most wonderful sense of release.

The last movement is a relaxed but far from trivial rondo, with a main theme which hovers, again, between major and minor. Subsidiary themes tilt the emotional balance towards a sometimes hearty geniality, until pulled up short by a powerful outburst in F minor. But this, too, subsides to leave a lightly skipping dance rhythm. After this music returns at the end, Schubert takes snatches of the opening theme and suddenly whips them up into a brisk, almost defiant, presto coda, rounding off his last and greatest piano sonata with a flourish.

© Mike Wheeler, 2011

IMOGEN COOPER

Recognized worldwide as a pianist of virtuosity and poetic poise, Imogen Cooper has established a reputation as one of the finest interpreters of the classical repertoire. She has dazzled audiences and orchestras throughout her distinguished career, bringing to the concert platform her unique musical understanding and lyrical quality. Imogen Cooper received a CBE in the Queen’s New Year Honours in 2007 and was the recipient of an award from the Royal Philharmonic Society in 2008.

In the 2010/11 season Imogen Cooper’s performances include the Philadelphia and Royal Scottish National Orchestras. She will also join the Takacs Quartet for performances of Schubert’s Trout Quintet in London, Spain and Germany. During 2011, Imogen Cooper will perform in three concerts as part of the Mozart Unwrapped series at Kings Place in London. During 2008 and 2009 she performed the last 6 years of Schubert’s solo works as part of the International Piano Series in London. These were recorded and released to great critical acclaim under the title ‘Schubert Live’ (Avie).

As a supporter of new music, Imogen Cooper has premièred two works at the Cheltenham International Festival; Traced Overhead by Thomas Adès (1996) and Decorated Skin by Deirdre Gribbin (2003). Imogen Cooper is a committed chamber music player and performs regularly with the Belcea Quartet. As a recitalist, she has the box set ‘Imogen Cooper and Friends’ encompassing solo, chamber and lieder works (Philips). She has also recorded four Mozart Concertos with the Northern Sinfonia (Avie) and a solo recital at the Wigmore Hall (Wigmore Live).