Utwory na płycie:

• 1 Impromptus op. 90 D 899 Nr. 1-4 - Nr. 1 Impromptu c-moll.mp3
• 2 Impromptus op. 90 D 899 Nr. 1-4 - Nr. 2 Impromptu Es-Dur.mp3
• 3 Impromptus op. 90 D 899 Nr. 1-4 - Nr. 3 Impromptu Ges-Dur.mp3
• 4 Impromptus op. 90 D 899 Nr. 1-4 - Nr. 4 Impromptu As-Dur.mp3
• 5 Stücke für Klavier D 946 (3 Impromptus op. posth.) - 1. Allegro assai.mp3
• 6 Stücke für Klavier D 946 (3 Impromptus op. posth.) - 2. Allegretto.mp3
• 7 Stücke für Klavier D 946 (3 Impromptus op. posth.) - 3. Allegro.mp3

Vier Impromptus, D 899
Drei Klavierstücke, D 946
Grätzer Walzer, D 924

1827. The year Franz Schubert celebrated his 30th birthday was the second-last year of his life. It was a year overshadowed by a work that has probably been analysed more than anything else in his oeuvre: Winterreise. Schubert composed his ‘cycle of horrifying songs’ (‘Zyklus schauerlicher Lieder’) in two equal groups of twelve songs each, the first in early 1827 and the other towards the end of the year. Between them the first instrumental collection he wrote was a set of nameless piano pieces, given their title by the publisher: Four Impromptus. These would only be published together in 1857, almost thirty years after Schubert’s death. With his late interest in the lyric piano miniature, Schubert firmly established the genre, building on contributions such as the bagatelles of Beethoven, the nocturnes of John Field and the impromptus of Schubert’s Czech contemporary Jan Václav Voříšek. This laid the foundation for two of the great composers of lyric piano miniatures, Felix Mendelssohn-Bartholdy and Robert Schumann. Schubert also directly influenced two pianist-composers who, even if they did not have much common ground in terms of ideology, shared a profound love for Schubert and contributed vastly to his posthumous reputation: Franz Liszt and Johannes Brahms.

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Recorded at Lisbon, Portugal on 2-4 August 2015