Franz Schubert
DEUX MARCHES CHARACTERISTIQUES for piano duet
Goodmusic GM450
Schubert’s Deux Marches Characteristiques for piano duet are thought to date from the spring of 1826, the year that his earlier Trois Marches Militaires were published. Schubert’s marches were popular in and outside of Vienna. He often adopted French titles for his music and longed for recognition in France, but, sadly, this would only come after his death at the tragically young age of 31, in 1828, from typhoid. On this occasion, it is thought that the title was suggested posthumously by fellow composer, Joseph Lanz, for publication in December 1829.
Franz Schubert was too short in stature to qualify for military conscription. However, he seemingly made up for it by creating ‘marches of the soul’, mainly for piano duet, which was a popular medium at the time. He frequently invited musicians to play his music at his house in evening sessions called Schubertiades and might well have ‘tried them out’ with fellow musicians on such occasions. Although Schubert wrote many marches, these two are the only ones in 6/8 time. Each has outer sections full of dramatic contrast, with unexpected changes of key. The central Trio sections are typically delightful. Both are in the relative minor key, that of the first march ending sadly, but that of the second ending more wistfully. The design of the outer sections of the second march are more ambitious and colourful, with a second subject and elements of development of the first subject. Unlike the first march, there is a dramatic and exciting coda added, which is cleverly constructed to just about guarantee applause from an audience. Thus, the second march, beguilingly attractive at its start, concludes in triumph and joy…a mini masterpiece! Note and editing by Peter Lawson
Duration 15 minutes
Franz Schubert was too short in stature to qualify for military conscription. However, he seemingly made up for it by creating ‘marches of the soul’, mainly for piano duet, which was a popular medium at the time. He frequently invited musicians to play his music at his house in evening sessions called Schubertiades and might well have ‘tried them out’ with fellow musicians on such occasions. Although Schubert wrote many marches, these two are the only ones in 6/8 time. Each has outer sections full of dramatic contrast, with unexpected changes of key. The central Trio sections are typically delightful. Both are in the relative minor key, that of the first march ending sadly, but that of the second ending more wistfully. The design of the outer sections of the second march are more ambitious and colourful, with a second subject and elements of development of the first subject. Unlike the first march, there is a dramatic and exciting coda added, which is cleverly constructed to just about guarantee applause from an audience. Thus, the second march, beguilingly attractive at its start, concludes in triumph and joy…a mini masterpiece! Note and editing by Peter Lawson
Duration 15 minutes
