Fuck Yeah Classical

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schubertiade:

Symphony No.4 in C minor, D. 417 (Tragic); I. Adagio Molto — Allegro Vivace

Composer: Franz Schubert

Performers: Riccardo Muti; Wiener Philharmoniker

This symphony was composed in 1816 when Schubert was only 19. It wasn’t premiered until 33 years later, in 1849, about 20 years after his death. 

musicophilia:

Fantasia in F Minor for Piano Four Hands, D940
I. Allegro molto moderato
II. Largo
III. Scherzo. Allegro vivace
IV. Finale. Allegro molto moderato

Franz Schubert

Evgeny Kissin, piano
James Levine, piano

Schubert began writing the Fantasia in January 1828 in Vienna. The work was completed in March of that year, and first performed in May. Schubert’s friend Eduard von Bauernfeld recorded in his diary on May 9 that a memorable duet was played, by Schubert and Franz Lachner. The work was dedicated to Karoline Esterházy, with whom Schubert was in (unrequited) love. (via)

zveneczi:

Franz Schubert (1797-1828): Fantasia in G minor for Piano duet, D.9 (composed in 1811, when Schubert was only 14)

Ládonyi Veronika, Venéczi Zoltán - piano (2004)

Private recording.

musicophilia:

Impromptus, Op. 90 (D. 899) No. 1 in C minor

Franz Schubert

Alfred Brendel, piano

I know Schubert’s Impromptus have been posted all over tumblr, but they’re wonderful so I’m posting this one regardless.

The first Impromptu, written in C minor, commences with two widely spaced G octaves, leaving the key of the piece ambiguous. The piece continues into a march-like melody played first without accompaniment. The melody is repeated with a chordal accompamiment. (At the end of this statement the key is revealed: after a rising bass, the C minor chord is played in root position.) The march theme is embellished, then leads slowly into the key of A-flat major, where an apparently new melody is introduced. This melody is actually based on the opening melody: the first three notes are spread out more in their intervals but the following three repeated notes remain. Its songlike quality, accompanied by triplets in the bass, contrasts with the march quality of the opening. An extension of this melody takes the final turn and repeats it several times in different registers. When the main theme returns for the first time, it has combined with the triplet pattern of the previous section. Later a new pattern with straight (non-triplet) semiquavers is used as accompaniment, and then an off-beat version asserts itself in quavers. This eventually leads into the extension of the second theme again, this time in G major, using the end of the theme’s tonic chord as an effective dominant chord transition into the main theme. The theme gradually dies away and leads to C major, resolving the piece’s tension into tranquility. [via]

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Schubert 2. Adagio (Strin Quintet in C, D.965) (TLOC Edit) by Ensemble Villa Musica

oastronauta:

Schubert 2. Adagio (Strin Quintet in C, D.965) by Ensemble Villa Musica