FRANZ SCHUBERT
(born 1797, Vienna; died 1828, Vienna)

Sonatina in D Major D384, Op.posth.137, No.1 (1817)

1. Allegro molto
2. Andante
3. Allegro vivace

Franz Schubert was one of the last exponents of the Viennese Classical School of composition, who helped pave the way to musical Romanticism. He was prolific, composing more than 1000 works in a lifespan even shorter than Mozart's. Unlike his Austrian predecessor, however, Schubert was neither a prodigy nor a virtuoso, and held no position of any prominence during his lifetime.

Schubert is best loved for the melodies and intense lyricism that fill his Lieder but these are equally prominent in his instrumental writing, as are characteristic chromatic modulations, changes of mode from major to minor and pastoral sound language.

He composed four sonatinas for violin and piano in 1817. A young man of 20, he had already completed a large number of works, including the wonderful lieder Gretchen am Spinnrad and Die Erlkönig but his greatest compositions, such as the late sonatas and quartets, Die Schöne Mullerin, Winterreise, and the Symphonies Nos. 8 and 9, were still to come.

The sonatas, which were called sonatinas to give them greater appeal for amateur musicians, are certainly well written for the two instruments. This is not entirely surprising as Schubert knew the violin and the pianoforte well, having taken lessons from the age of six. He also incorporates dramatic flair, instrumental fastidiousness, and a sense of collaboration and conversation that he had developed in his previous works in other genres, including piano sonatas and chamber music for strings.

The initial impression of the first Sonatina, in D Major, is one of spontaneous lyricism and natural melody, of simplicity, sweetness, and elegance. Throughout the work, memorable themes, flow from one section to the next. The tunes alone can be enjoyed by any player; thus the challenge for performers becomes how to make an artistic statement that does not disturb the organic nature of the work. The Sonatina is as compelling for the listener as it is pleasurable for the players. In order to deliver a musical interpretation, one must first recognize Schubert's subtle yet diverse hues, texture, and intent.

A successful execution of the work requires that the players respect the music and acknowledge what it expresses naturally, as well as being alert at all times to honor the delicate, and perhaps understated progression within the musical context from one moment to the next. Like the view from a moving ship in the middle of an ocean, what initially seems like a vastness of water is transformed by the movement of light, wind, and depth.

The first movement opens in a very similar fashion to Mozart's Sonata in e minor, KV 304. Starting with the melody stated in octaves by the three lines, the speed of the movement is comfortably cruising, having been marked Allegro molto, in cut time.

In the Andante that follows, the three sections of the movement form an A-B-A structure. In the A sections, the character is rather jovial, and the piano has the right-of-way most of the time in relation to the violin. However, in the middle section, it is the violin that sings, unadorned but with quiet passion.

In contrast to the first movement, which opens with both instruments having the theme simultaneously, and the second, which opens with the piano solo, the final movement allows the violin to state the opening theme. The blissful finale is stylishly rustic and lavishly buoyant.