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Schubert Impromptu op.90 no.3 editions
#3010095 08/04/20 04:43 AM
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kaspere Offline OP
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Hi,

I'm training on Schubert sonata no.21 at the moment, but was drawn into the impromptus op.90 as a sort of procrastination.

While listening to different recordings, I've come across a certain deviation from my Henle edition, which I have not yet been able to track the origin of. At least in recordings of
Horowitz and
Pires, in bar 5 there's a Bb dominant in the last half-note (in place of anotuer Gb chord) leading on to the Eb minor in bar 6.

This variation while in no way unpleasant is striking to my ear, as I grew up with versions aligning with my Henle edition, as played by e.g. Uchido, Brendel and others.

Does anybody know the history and legitimacy of this slight variation? I did some limited searching attempts on Google Scholar for musicological work on the impromptus but was unable to find anything that could elucidate it.

Best,
Kasper


Schubert, Beethoven, Brahms, Bach and Berg
2017 Shigeru Kawai SK-2
1950'es Zimmermann upright
Fender Classic 50's Precision Bass -> Dynacord Bass-King T -> BassLab 212
RME Babyface (mk.1) + some microphones
Re: Schubert Impromptu op.90 no.3 editions
kaspere #3010104 08/04/20 07:08 AM
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Yes, I've noticed this. Quite like it. Sounds like the Liszt 'Cotta' edition (in G major) but in the original key of G♭ major.

http://petrucci.mus.auth.gr/imglnks...ubert_-_impromtus_op90_cotta_edition.pdf

Last edited by psyche23; 08/04/20 07:10 AM.
Re: Schubert Impromptu op.90 no.3 editions
kaspere #3010108 08/04/20 07:27 AM
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Just done a quick search on the web and here's Richter playing the Impromptu (in G major - video title is incorrect). Chord change is around 24 seconds in:


Last edited by psyche23; 08/04/20 07:27 AM.
Re: Schubert Impromptu op.90 no.3 editions
kaspere #3010151 08/04/20 11:58 AM
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Originally Posted by kaspere
Hi,

I'm training on Schubert sonata no.21 at the moment, but was drawn into the impromptus op.90 as a sort of procrastination.

While listening to different recordings, I've come across a certain deviation from my Henle edition, which I have not yet been able to track the origin of. At least in recordings of Horowitz and Pires, in bar 5 there's a Bb dominant in the last half-note (in place of anotuer Gb chord) leading on to the Eb minor in bar 6.

This variation while in no way unpleasant is striking to my ear, as I grew up with versions aligning with my Henle edition, as played by e.g. Uchido, Brendel and others.

Does anybody know the history and legitimacy of this slight variation? I did some limited searching attempts on Google Scholar for musicological work on the impromptus but was unable to find anything that could elucidate it.

Best,
Kasper

Kasper:

Here's one explanation. It comes from the ABRSM of the Impromptus, D.899, edited by Howard Ferguson (note on p. 27):

Bb [bars] 5 & 59 final minim [half note]: thus [G-flat harmony] in the autograph. The 1st edition gives the equivalent of D-natural / F in the l.h. and D-natural in the r.h. These were almost certainly the publisher's alterations, as they awkwardly anticipate b. 24.

Regards,


BruceD
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Re: Schubert Impromptu op.90 no.3 editions
kaspere #3010295 08/04/20 09:11 PM
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Liszt did a version with some subtle variations in the first half and a rather dramatic variation when the A section comes back again. You can play it the same way, obviously you'll need to transpose it a semi tone down.

See here: https://imslp.simssa.ca/files/imglnks/usimg/4/4d/IMSLP05858-Liszt_-_S565b_Schubert_Impromtus_No3.pdf

Horowitz is playing a hybrid of the two. Also to note, Horowitz might have come up with this idea himself independently of Liszt's version. He often did things differently with scores, and regularly octaves bass notes which aren't written in.

Last edited by WTM; 08/04/20 09:17 PM.

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Re: Schubert Impromptu op.90 no.3 editions
kaspere #3010368 08/05/20 05:34 AM
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Thanks a lot, Psyche23, BruceD and WTM,

Your answers helped a lot in clarifying the matter!

Looking into the Liszt/Cotta version supplied by Psyche23 is an interesting read! The degrees of freedom in publishing seem to have been considerably greater before the urtext concept was commonplace.

I also recognize the slight akwardness in preempting the harmonic development in bar 24, as your edition points to, BruceD.

Best,
Kasper


Schubert, Beethoven, Brahms, Bach and Berg
2017 Shigeru Kawai SK-2
1950'es Zimmermann upright
Fender Classic 50's Precision Bass -> Dynacord Bass-King T -> BassLab 212
RME Babyface (mk.1) + some microphones

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