BUT: all previous Henle Urtext editions haven’t, because for ages we followed the autograph reading ( G).

To do this, he applies his magic wand for a brief moment: Continuing the triplets’ rising and falling seemingly innocuously, he reaches the minor parallel f-sharp minor and the subsequent enharmonic equivalent and with it the harmonic reinterpretation (A major = I | f-sharp minor = VI ≙ g-flat minor = IV of d-flat minor /major | A flatD flat = 5I | A flat 7 = V 7 | D flat = I) back home to the cosy D-flat major.Īll editions accessible to me, whether Urtext or not, have since added the # to the trill’s upper note (= G sharp). But, how to get back again to D-flat major? A major in D-flat major? – not exactly friendly neighbouring keys. 2, Trio at 1:30–3:37.Īlmost unnoticed, Schubert leads us here from the previously well-established key, D-flat major, into an impassioned expanse with a key signature devoid of accidentals, in which then nothing more than an A major (!) triad sweeps up and down over seven measures. Paul Lewis plays Schubert A-flat-major Impromptu D 935, No. A pleasurable shiver runs down my spine every time the gentle triplet section begins with its hidden melody: Its middle section in D-flat major has always been one of my absolute favourite Schubert passages. So also in the much-played Impromptu in A-flat major D 935, No. As is well known, he can modulate amazingly to the most harmonically remote regions within a minimum amount of space – and back again. Franz Schubert‘s piano music is almost an infinitely magical wonderland.

Schubert impromptu g flat major