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Statements

Subject Item
dbr:List_of_compositions_by_Franz_Schubert_by_genre
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dbr:Sonatensatz,_D_28_(Schubert)
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dbr:D28
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dbr:Sonatensatz,_D_28_(Schubert)
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Sonatensatz, D 28 (Schubert) Sonatensatz, D 28 (Schubert)
rdfs:comment
La Sonatensatz en si bemoll major, D. 28, també coneguda com a Trio per a piano en si bemoll major, és una obra d'un sol moviment de Franz Schubert. Fou composta l'any 1812, immediatament després que, ja amb 15 anys, obtingués la seva plaça en el cor de la Capella Imperial de Viena a causa del canvi de veu. Schubert va dedicar gairebé tot l'agost de 1812 a escriure la que seria la seva primera obra per a corda i piano, però abandonà la composició després d'acabar-ne el primer moviment. També cal tenir en compte que fou l'any que va morir la seva mare, a qui estava molt unit. Tot i que és relativament poc coneguda, l'obra destaca entre la producció primerenca de Schubert i representa l'únic exercici dins el gènere abans dels seus celebrats trios per a piano D. 898 i D. 929, compostos 15 any The Sonatensatz in B-flat major D. 28, also known as Piano Trio in B-flat major, is a single-movement work for piano trio by Franz Schubert. This work was written in 1812, immediately after the fifteen-year-old composer lost his place in Vienna's Imperial Chapel Choir due to his voice breaking. Schubert spent most of the August composing this work, his first ever composition for strings and piano, but abandoned it after finishing the first movement. It was also in this year that his mother died. Although relatively little known, the work is important among Schubert's early output, and Schubert's only previous exercise in the genre when he penned his more celebrated piano trios D. 898 and D. 929 15 years later.
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Piano Trio in B-flat major, D.28
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Piano Trio in B-flat major, D.28
dbo:abstract
The Sonatensatz in B-flat major D. 28, also known as Piano Trio in B-flat major, is a single-movement work for piano trio by Franz Schubert. This work was written in 1812, immediately after the fifteen-year-old composer lost his place in Vienna's Imperial Chapel Choir due to his voice breaking. Schubert spent most of the August composing this work, his first ever composition for strings and piano, but abandoned it after finishing the first movement. It was also in this year that his mother died. Although relatively little known, the work is important among Schubert's early output, and Schubert's only previous exercise in the genre when he penned his more celebrated piano trios D. 898 and D. 929 15 years later. Like several other of his works from this time, this piano trio movement was heavily inspired by classical models, partly reflective of Schubert's having begun lessons with Antonio Salieri, although Schubert was already giving the cello part a more emancipated role than in Mozart's piano trios. Eva Badura-Skoda writes that it contains "...some charming passages and even traits of genuine Schubert here and there in this movement; but altogether one can still feel Schubert's lack of experience." La Sonatensatz en si bemoll major, D. 28, també coneguda com a Trio per a piano en si bemoll major, és una obra d'un sol moviment de Franz Schubert. Fou composta l'any 1812, immediatament després que, ja amb 15 anys, obtingués la seva plaça en el cor de la Capella Imperial de Viena a causa del canvi de veu. Schubert va dedicar gairebé tot l'agost de 1812 a escriure la que seria la seva primera obra per a corda i piano, però abandonà la composició després d'acabar-ne el primer moviment. També cal tenir en compte que fou l'any que va morir la seva mare, a qui estava molt unit. Tot i que és relativament poc coneguda, l'obra destaca entre la producció primerenca de Schubert i representa l'únic exercici dins el gènere abans dels seus celebrats trios per a piano D. 898 i D. 929, compostos 15 anys més tard. Com altres obres d'aquest període, aquest moviment d'un trio per a piano està molt inspirat en models clàssics. Reflecteix, en part, les lliçons d'Antonio Salieri que havia començat a rebre, tot i que Schubert ja donava al cel·lo més protagonisme que el que s'observa en els trios per a piano de Mozart. Eva Badura-Skoda comenta que conté "...Alguns passatges encantadors i fins i alguns trets característics del genuí Schubert, ara aquí, ara allà, al llarg d'aquest moviment; però alhora, un encara pot sentir la manca d'experiència de Schubert."
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