Grand Rondeau in A Major, Op. 107

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Sonatas, duos and fantasies by Franz Schubert - Wikiwand

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Introduction: Moderato Theme: Moderato Variation I Variation II Variation III: Brillante Finale: Vivace Rondo in A Major, D. Theme Variation III Total Playing Time: Composition Title. Disc Title.

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Catalogue No. For U. During the year of my birthday, I started playing the piano seriously again after an absence of nearly 20 years in the preceding years I was busy getting married, setting up home, working in publishing and antiquarian bookselling, having a child, and I lost interest in the thing about which I cared very passionately when I was at school.

The D Impromptus have a special significance for the hero of my book — a young concert pianist poised on the cusp of a brilliant career until the First World War cruelly intervenes — and each one connects him to particular people or events in his life. It is significant that in his first concert after the war is over he plays the Impromptus as a way of reaffirming these connections and celebrating life and love.

Of course, in reality these late piano pieces of Schubert, together with the D Impromptus and the final three sonatas, are the works of a man at the end of his short life, yet Schubert was less than 10 years older than the hero of my novel when he wrote these wonderful works.

These pieces, composed during a remarkable outpouring of late masterpieces, display many emotions, from anger and defiance the D Sonata in C minor to resignation and valediction the last Sonata in B-flat, D The Impromptus are in many ways miniature versions of these big works: full of variety, containing a broad sweep of emotions from the chillingly bare G which opens the first of the D set to serenity of the third in G-flat and the final, life-affirming cadence in A-flat major of the fourth Impromptu.

Schubert had already explored the Fantasy form in his Wanderer Fantasie D , a bravura work full of heroism and energy. The headquarters of the Piano School are equipped with a small hall in which students' recitals and classes are held regularly.

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Besides, many concerts are proposed by great musicians, as well as musical gatherings, music history courses and lectures. Alongside with his teaching and concert activity, Jean-Jacques Hauser is tirelessly devoted to composition, to writing music for solo, chamber, orchestra, and rarely leave his favorite instrument: the piano. In , his "Blue Book" dialogues for two pianos is awarded as the best composition at the Giovanni Battista Viotti Competition in Vercelli.

His predilection is still directed to improvisation, which he practices on a daily basis in his studio and to the great amusement of his friends. With extraordinary dexterity he can imitate the styles of great composers presenting, at a time, the most diverse musical forms.

This rare gift rises curiosity and keen interest in his friend Hannes Keller, a great inventor in different fields and enthusiastic music lover. According to him, this way of making music should have been appreciated by the general public. Supported by his exceptional imagination and by his incredible skills he invents the story of the virtuous Tartarov, a mute pianist So he conceives the great concert held on April 18th, at the Tonhalle in Zurich.

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