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Hyperion Records

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A River Landscape by Jean-Pierre François Lamorinière (1828-1911)
Fine Art Photographic Library
Track(s) taken from CDA67091/2
Recording details: May 1995
Snape Maltings, Suffolk, United Kingdom
Produced by Ates Orga
Engineered by Ken Blair
Release date: May 1996
Total duration: 29 minutes 1 seconds

'On these two CDs you hear two hours and 20 minutes of the most wonderful piano music anyone has ever written. A great deal of it is played with almost ideal intelligence and power' (Classic CD)

'Una interpretación a nivel altísimo. Muy ben sonido' (CD Compact, Spain)

Drei Klavierstücke, D946

E flat minor  [11'38]
E flat major  [10'44]
C major  [6'39]

Introduction  EnglishFrançaisDeutsch
The three pieces of D946 were composed in May 1828 and were the last piano works Schubert wrote before embarking on his final group of three sonatas. Schubert’s autograph lacks the final touches he gave his music when preparing it for publication; nor do we know if he intended the pieces to form a coherent group, along the lines of the two sets of Impromptus. At any rate, Brahms, who first edited them for publication in 1868, gave them the neutral title of Drei Klavierstücke.

The first piece, in E flat minor, is breathlessly agitated, though its B major middle section unfolds a broad melody that stands in violent contrast. Schubert initially designed the piece as a five-part form, including a second slow episode. Although he eventually deleted this second episode, it is fully worked-out and clearly legible in the autograph, and it has been included in the present recording. The resulting five-part structure is one that is also found in the second panel of the triptych.; this second piece has a main section in the style of a barcarolle, and two fine episodes in the minor, the second of which brings with it a change of metre (though not of pulse). The set ends with an Allegro in Schubert’s jubilant C major style. Here, too, there is a central episode in a contrasting metre. Its tempo relationship with the outer sections is less clear, though Schubert no doubt wanted this chorale-like passage to form a moment of calm between the flamboyant material that surrounds it.

from notes by Misha Donat İ 1996

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