Englisch Translation of the description (by ChatGPT): Schubert's first Impromptu from 1827 is reminiscent in many places of the typical "Wanderer motif," which can be found in many of his songs. Right from the beginning, the listener is awakened from their dreams with a fortissimo sound, reminiscent of Beethoven's famous 5th Symphony (also in the key of C minor, starting with G, which is the dominant). Following that, the theme, which will reappear throughout the piece, is initially presented alone, without accompaniment. As the piece progresses, this theme is underscored with different harmonies that ultimately bring the piece to its home key of C minor. The quarter-note pulse in Schubert's tempo "Allegro molto moderato" creates a constant sense of forward motion. After a fortissimo climax, the dramatic first part concludes with a modulation to the submediant key of A-flat major, leading to the second part (1:40). This section is characterized by a lyrical melody typical of Schubert, which unfolds in different registers one after the other. The distinctive quarter-note pulse of the first part is replaced by continuous chords split in triplets, often symbolizing a river or stream in Schubert's songs. The second part leads into a dreamy sequence (3:30), also in A-flat major, beginning with a melodic voice that is soon joined by another melody in a dialogue before they finally converge. Romantics may be reminded of similar dreamy passages in Schubert's songs that are typically more dramatic, such as "Der Wanderer (Ich komme vom Gebirge her)," "Frühlingstraum," or "Der Lindenbaum." The dream fades as Schubert modulates back to C minor and changes the rhythm to reintroduce the drama of the first part (4:08). However, from this point on, the accompanying chords sound three times per quarter note, a technique often used in Schubert's songs to convey a sense of progression, as seen in "Der Wanderer (Ich komme vom Gebirge her)" or, in a faster form (riding) in the famous "Der Erlkönig." After a dramatic climax in the piece (5:38), Schubert modulates to G minor (6:14). In this key, a variation of the second theme (originally in A-flat major) is heard, accompanied by sixteenth-note arpeggios with the bass note syncopated on the second eighth note. After one last rendering of this theme, Schubert transitions to G major via a dominant seventh chord on D (7:40). The dreamy third theme is now heard in this key (a half step lower than the first occurrence in A-flat major). Starting from G major, Schubert once again guides the harmony to the first theme in C minor (8:12). After two iterations, the minor third of C is resolved to E, transitioning to C major (8:34). This resolution to C major conveys to the listener that the wanderer has finally reached his destination after a challenging journey. The first theme now resounds in gentle major harmonies like an echo. However, after a few bars, the theme reasserts itself in C minor (9:02). The brief tranquility is disrupted by a series of diminished seventh chords, marked "fortepiano," quickly shattering the peace (9:33). After these final attempts at resistance, the piece collapses, symbolizing the wanderer, and the triplet accompaniment gradually fades (9:59, with similarities to "Der Erlkönig": "He reaches the courtyard with great effort"). The first theme of the piece is now heard again in alternating minor and major keys, with minimal accompaniment. Interestingly, Schubert notates "pianopianissimo" (ppp) at this point (10:15). In Schubert's time, fortepianos often had a pedal that inserted a thin felt between the hammers and the strings. It is conceivable that Schubert had this in mind at this point (I'm trying to achieve a similar effect on a modern Steinway grand piano by engaging the una corda pedal). Finally, the "Wanderer Impromptu" ends in C major (10:26), but not in euphoria, rather in restrained piano. This last part can be best described with the words from Schubert's "Der Wanderer" (a poem by Georg Philipp Schmidt von Lübeck): "There, where you are not, there is happiness."
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Englisch Translation of the description (by ChatGPT):
Schubert's first Impromptu from 1827 is reminiscent in many places of the typical "Wanderer motif," which can be found in many of his songs. Right from the beginning, the listener is awakened from their dreams with a fortissimo sound, reminiscent of Beethoven's famous 5th Symphony (also in the key of C minor, starting with G, which is the dominant). Following that, the theme, which will reappear throughout the piece, is initially presented alone, without accompaniment. As the piece progresses, this theme is underscored with different harmonies that ultimately bring the piece to its home key of C minor. The quarter-note pulse in Schubert's tempo "Allegro molto moderato" creates a constant sense of forward motion.
After a fortissimo climax, the dramatic first part concludes with a modulation to the submediant key of A-flat major, leading to the second part (1:40). This section is characterized by a lyrical melody typical of Schubert, which unfolds in different registers one after the other. The distinctive quarter-note pulse of the first part is replaced by continuous chords split in triplets, often symbolizing a river or stream in Schubert's songs.
The second part leads into a dreamy sequence (3:30), also in A-flat major, beginning with a melodic voice that is soon joined by another melody in a dialogue before they finally converge. Romantics may be reminded of similar dreamy passages in Schubert's songs that are typically more dramatic, such as "Der Wanderer (Ich komme vom Gebirge her)," "Frühlingstraum," or "Der Lindenbaum."
The dream fades as Schubert modulates back to C minor and changes the rhythm to reintroduce the drama of the first part (4:08). However, from this point on, the accompanying chords sound three times per quarter note, a technique often used in Schubert's songs to convey a sense of progression, as seen in "Der Wanderer (Ich komme vom Gebirge her)" or, in a faster form (riding) in the famous "Der Erlkönig."
After a dramatic climax in the piece (5:38), Schubert modulates to G minor (6:14). In this key, a variation of the second theme (originally in A-flat major) is heard, accompanied by sixteenth-note arpeggios with the bass note syncopated on the second eighth note. After one last rendering of this theme, Schubert transitions to G major via a dominant seventh chord on D (7:40).
The dreamy third theme is now heard in this key (a half step lower than the first occurrence in A-flat major). Starting from G major, Schubert once again guides the harmony to the first theme in C minor (8:12). After two iterations, the minor third of C is resolved to E, transitioning to C major (8:34). This resolution to C major conveys to the listener that the wanderer has finally reached his destination after a challenging journey. The first theme now resounds in gentle major harmonies like an echo. However, after a few bars, the theme reasserts itself in C minor (9:02). The brief tranquility is disrupted by a series of diminished seventh chords, marked "fortepiano," quickly shattering the peace (9:33). After these final attempts at resistance, the piece collapses, symbolizing the wanderer, and the triplet accompaniment gradually fades (9:59, with similarities to "Der Erlkönig": "He reaches the courtyard with great effort").
The first theme of the piece is now heard again in alternating minor and major keys, with minimal accompaniment. Interestingly, Schubert notates "pianopianissimo" (ppp) at this point (10:15). In Schubert's time, fortepianos often had a pedal that inserted a thin felt between the hammers and the strings. It is conceivable that Schubert had this in mind at this point (I'm trying to achieve a similar effect on a modern Steinway grand piano by engaging the una corda pedal). Finally, the "Wanderer Impromptu" ends in C major (10:26), but not in euphoria, rather in restrained piano. This last part can be best described with the words from Schubert's "Der Wanderer" (a poem by Georg Philipp Schmidt von Lübeck): "There, where you are not, there is happiness."
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