Adagietto | Franz Schubert - Impromptu D.899, Opus 90 - No. 3 | Maria João Pires @Adagietto | Uploaded January 2013 | Updated October 2024, 2 hours ago.
Franz Schubert - Impromptu for piano in G flat major, D. 899/3 (Op. 90/3) | Maria João Pires
Recording: Haarlem, Concertgebouw, Lisbon, Palácio de Queluz, 1996
4 Impromptus D.935, Op. posth. 142:
Impromptu D.935, Nº 1 youtu.be/44OtKHKwQw8
Impromptu D.935, Nº 2 youtu.be/WQ0A3DG09eA
Impromptu D.935, Nº 3 youtu.be/ecYEOth-Oyw
Impromptu D.935, Nº 4 youtu.be/WL7uGd4k66M
4 Impromptus D.899, Opus 90:
Impromptu D.899, Nº 1 youtu.be/A2EyHtQ8J-g
Impromptu D.899, Nº 2 youtu.be/GQOQ57G9mf0
Impromptu D.899, Nº 3 youtu.be/DxRrMLnJq2M
Impromptu D.899, Nº 4 youtu.be/sIn6hM7t0Vw
Complete Impromptus: youtu.be/5yVZu05WZ9o
Complete Playlist: youtube.com/watch?v=5yVZu05WZ9o&index=9&list=PLF2ayhcb2yRWwjYotdsUNDiWyZbP79ZdA
"The Universal power of the greatest music - and some of the greatest music is Schubert's - comes from a prodigius coincidence: such music fits like a glove into the secret codes with which the body transmits its signals to the brain, and because body codes and music codes are the same, the brain treats the messages of such music as if they were coming from the heart, not the ear. Great music appropriates the transmission and enters the brain as both sound and pure feeling. And what is pure feeling? It is the reading of the very states of a living organism with which nature can compose any and all emotions, from the longing for the unattainable or the anguish of departure, to the resignation of the winter journey, the excitement that precedes adventure, the everpostponed visit to an otherwordly place. When the appropriation happens, the mind of the fortunate listener believes it is eavesdropping on the inner life of its being, connected to the source of existence and far, very far, from the mundane origin of the experience."
António R. Damásio, Neurocientist
The third of Schubert's first set of Impromptus, in G flat major, Op. 90, No. 3 (D. 899/3), is a flowing song without words that seems almost hymn-like in the serene peace of its melody. The melody floats above the gently rippling accompaniment with a slow-moving and solemn bass line treading softly far below. The intensifications of the melody are accomplished by modulations through keys rather than through any increases in the work's tempo or pace. The occasional expansion of the bass line into a countermelody during these intensifications brings an added pathos to the music. The delicate hesitation caused by the insertion of a discrete pause before the final return of the hymn-like melody is unutterably poignant.
Franz Schubert - Impromptu for piano in G flat major, D. 899/3 (Op. 90/3) | Maria João Pires
Recording: Haarlem, Concertgebouw, Lisbon, Palácio de Queluz, 1996
4 Impromptus D.935, Op. posth. 142:
Impromptu D.935, Nº 1 youtu.be/44OtKHKwQw8
Impromptu D.935, Nº 2 youtu.be/WQ0A3DG09eA
Impromptu D.935, Nº 3 youtu.be/ecYEOth-Oyw
Impromptu D.935, Nº 4 youtu.be/WL7uGd4k66M
4 Impromptus D.899, Opus 90:
Impromptu D.899, Nº 1 youtu.be/A2EyHtQ8J-g
Impromptu D.899, Nº 2 youtu.be/GQOQ57G9mf0
Impromptu D.899, Nº 3 youtu.be/DxRrMLnJq2M
Impromptu D.899, Nº 4 youtu.be/sIn6hM7t0Vw
Complete Impromptus: youtu.be/5yVZu05WZ9o
Complete Playlist: youtube.com/watch?v=5yVZu05WZ9o&index=9&list=PLF2ayhcb2yRWwjYotdsUNDiWyZbP79ZdA
"The Universal power of the greatest music - and some of the greatest music is Schubert's - comes from a prodigius coincidence: such music fits like a glove into the secret codes with which the body transmits its signals to the brain, and because body codes and music codes are the same, the brain treats the messages of such music as if they were coming from the heart, not the ear. Great music appropriates the transmission and enters the brain as both sound and pure feeling. And what is pure feeling? It is the reading of the very states of a living organism with which nature can compose any and all emotions, from the longing for the unattainable or the anguish of departure, to the resignation of the winter journey, the excitement that precedes adventure, the everpostponed visit to an otherwordly place. When the appropriation happens, the mind of the fortunate listener believes it is eavesdropping on the inner life of its being, connected to the source of existence and far, very far, from the mundane origin of the experience."
António R. Damásio, Neurocientist
The third of Schubert's first set of Impromptus, in G flat major, Op. 90, No. 3 (D. 899/3), is a flowing song without words that seems almost hymn-like in the serene peace of its melody. The melody floats above the gently rippling accompaniment with a slow-moving and solemn bass line treading softly far below. The intensifications of the melody are accomplished by modulations through keys rather than through any increases in the work's tempo or pace. The occasional expansion of the bass line into a countermelody during these intensifications brings an added pathos to the music. The delicate hesitation caused by the insertion of a discrete pause before the final return of the hymn-like melody is unutterably poignant.