Piano Sonata in C minor, D.958 (3rd & 4th Mvt, Menuetto - Allegro) - Fra...

Piano Sonata in C minor, D.958 (3rd & 4th Mvt, Menuetto - Allegro) - Franz Schubert | Music Sheet The Piano Sonata in C minor, D.958 is a sonata for solo piano composed by Franz Schubert in September 1828, just two months before his death. It is the second of his three final piano sonatas, the others being the D. 959 in A major and D. 960 in B-flat major 1. The sonata consists of four movements: Allegro in C minor Adagio in A-flat major Menuetto. Allegro - Trio in C minor Allegro in C minor III. Menuetto: Allegro – Trio The third movement is somber, quite distinct from the typical atmosphere of dance movements. It is relatively conservative in its key scheme, moving to the relative major key and back to the tonic. In the B section, a sequence of hemiolas is interrupted by a dramatic interpolation in A♭ major, referencing the departure to this key in the opening of the Allegro with the added minor sixth. The second A section is a transformation of the first, interrupted every four bars by a silent bar, creating a mysterious atmosphere. The trio is in A♭ major, ternary form, with a B section beginning in E♭ major colored by its own minor sixth and modulating to G♭ major via the parallel minor. IV. Allegro This movement is written in 6/8 and in tarantella style and is characterised by a relentless galloping rhythm calling on demanding pianistic effects with frequent hand-crossing and leaps across registers. It employs the three-key exposition, a recurrent element in Schubert's style. The first theme shifts from C minor to C major – another Schubertian feature, and contains many allusions to D♭ major, which finally becomes established in a climactic reference to the Adagio's characteristic plagal cadence. The second theme, proceeding with the enharmonic parallel minor of this cadence (C♯ minor), further develops the cadence in its alternation of tonic and subdominant tonalities. After a series of modulations, the exposition ends in the traditional relative major, E♭. The development section begins in C♭ with a new theme, derived from the last bars of the exposition. Later on, additional material from the exposition is developed, gradually building up towards a climax. The recapitulation is also written in three keys; the first theme is drastically shortened, and this time the second theme veers to B♭ minor, the result being that the closing section appears in the traditional tonic. The coda begins with a long anticipatory passage which stresses A♭, the submediant, and then reintroduces the first theme, restoring most of the music omitted from its reprise. This last passage is characterized by sweeping arpeggios with violent dynamic contrasts – a series of subito fortissimo decaying to piano, following the rise and fall of the melody. On the last iteration, the melody hits triple forte at the zenith of its register and then plunges four octaves in a descending arpeggio, marked poco a poco diminuendo al pianissimo. An emphatic cadence then concludes the piece. Music Sheet https://drive.google.com/file/d/1UhQd6YHW7a0DF5q1hCnFNPjKhZXGIYzg/view?usp=sharing #pianotutorial #pianosynthesia #synthesia #keysight #schubert #sonata #pianosonata #franzschubert #schubertpiano #musicsheet #musicsheets #classicalmusic #classical #romantic #romanticera #romanticmusic #impromptu #starlightkeys