Also: now that I think about it, using Sonata Theory I could see this being a Type 4 sonata as well (sonata rondo); the C section (marked as TR in your analysis, m. 390) sounds pretty developmental to me, even if it takes more rhythmic motifs from the themes than it does tonal motifs. Starting a development in the subdominant minor does feel in line with Schubert a bit, considering how he also did so in the first movement of the 8th symphony.

Wow! Amazing Amazing analysis! One of my favorite songs to perform! Keep up the great stuff!

Auf dem Flusse, what a fun language. Fun prob isn’t quite the right word for the music itself but my language skills are def not on the same par. 🤓

Hm, I never before heard a version where the triplets and 3/16-1/16 notes are aligned. My musical feeling rebels a bit against it, and it seems the aligning is not correct from the mathematical point of view? Because after the second note of the triplet, a time of 8/48 beats has passed, but 9/48 after the 3/16 note. So the last triplet note must start before the 1/16 note?

U the goat

2:32 one of those pianists is alfred brendel im pretty sure

This video is sort of like an apology tour. Every piece of music in the video I had analyzed previously on my channel and I think I got the transition label wrong! Or at least I might label it differently now, as they’re labeled in this video. The Tchaikovsky could just as easily be labeled a dissolving restatement, but to me it really sounds like a dissolving consequent.

One interesting case is the first movement of K. 454, where the music does a PAC in the dominant in the consequent phrase of P! Or, is it TR (a dissolving consequent)? Thanks for the great video!

Great analysis, honesltly! I think I'll have to apply Sonata Theory to some of my other works. Other works you should analyze should probably be Schubert's Unfinished symphony, since both of its works are in sonata form and they could be pretty well analyzed I think.

at 35:00 when the secondary theme comes again, its very weird and uncomfortable, with that up scales almost chromatic, it makes me feel like something is wrong, i mean.. its the same lovely theme we just heard before.. but it doesnt feel right, its like that lovely theme is now corrupt and it cant be the same way it was. Is this a bad interpretetion? Am I the only one who think that way? And then, when the clarinet plays it one more time (almost alone and very shy), its like a tiny fragment form the original theme remains, a little light in the darkness.

Interesting point about that subtle change of the words. I didn't realised there was a Cambridge Companion to Schubert's ‘Winterreise'.

Dietrich Fischer-Dieskau was an exceptional German baritone renowned for his performances of Schubert's lieder. However, his versatility extended beyond German repertoire; he also excelled in Italian arias by Verdi. To truly appreciate the power and beauty of his voice, listen to his rendition of "Il balen del suo sorriso" from *Il Trovatore*. His interpretation showcases his extraordinary vocal skill and emotional depth.

i wonder how a not-sonata with today's musical language and/or the musical language a couple decades from now would look like form wise

Hey just your channel. This is really fire content here!

These videos are so incredibly good, wow! I recently wrote my german Abitur in music on this topic and this helped me a lot with my preparation, thank you so much!❤

Thank you for this analysis and also for introducing us to a lesser-known composer. It was highly interesting to follow you along and I think your arguments for this being a Type 2 Sonata as well as applying sonata theory to more chromatic, 20th-century classical music are very sensible and convincing. I myself am frequently astonished how useful this theoretical framework, which was created to analyse music of the 18th and 19th centuries is for analysing e.g. the music of Dmitri Shostakovich, who wrote well-structured and compelling sonata-form movements up to the end of his life in the 1970s.

Amazing vid! Really helped for my vocal final this week! Thank you!

Thank you for this! Could you please do Im Frühling?

…dos deuses

Thank you for this .

05:14 "And if we judge by Schuberts Music, the world is apparently in G-Major, which I always suspected to be honest!" now thats a good quote😹

This video series is helping me tremendously while preparing for my upcoming exam in music class - Thank you for such a well made summary and Analysis!

Great stuff!

slay

An addition to last poem in the cycle: Müller wrote the poems Schubert set to music before writing the pro and epilogue. Both of these have a rather removed and pondering character even, but he wrote those after the fact when he had a little bit of distance to the event that (supposedly) led him to writing the cycle: His own failed love interest in a friend of his. While they are interesting in the interpretation of the cycle, one should bear in mind they werent originally a part of it

I've definitely seen some "Rondos" where I'm like "Is that really a rondo as the edition indicates?" Like "Rondos" where the A theme returns but in a new key, more like what happens in a Baroque ritornello than your typical Classical era rondo (I've seen Mozart do this) or "Rondos" where the A theme is changed so much it's almost unrecognizable from when I first heard it (I've seen that quite a bit in Beethoven). So to see a "Rondo" finale that's really a sonata form, that doesn't surprise me.

15:35 huh, the C minor sonata should be D. 958 afaik, not sure why the paper cites it as D. 959

After I've finally understood your way of noting the harmony, this is incredible for my preparation for an exam. Thank you so much!

I watched the whole series. Very cool! I've been working on some arrangement work with these pieces and this helped add a lot of thought-provoking perspectives. Thanks for the great vids!

Thank you!

Thank you for this! I have to do a seminar on sonata form for this graduate class and this helped so much!

13:00 the Elements of Sonata Theory actually does mention this situation in a footnote! page 29, note 8: Related instances would include modulatory CF passages following a purposefully “wrong-key” MC, such as that in first movement of Schubert’s Piano Sonata in C, D. 279. Here we have an unequivocal arrival on the “wrong dominant,” iii:HC (V of E minor!) at m. 37, which V_A is immediately frozen as a dominant-lock ending with a iii:HC MC, mm. 37-41. Four bars of expanded fill, mm. 41-44, accomplish the modulation to the generically proper key, G major (V), in which S then begins, m. 45.

It genuinely baffles me that this channel doesn't have more subscribers. Its exactly what I look for from musical analysis, being both highly informative while still being simple to follow. Massive well done. Keep doing what your doing cos these videos really boost my day.

Excellent release on International Women’s Day!❤

Very well performed by an experienced tenor and pianist

correction: around 4:44 the medial caesura is marked as a PAC, it is actually an IAC, third in the soprano voice

after listening again I thought that the other side of the ESC argument would be that the fragmentary nature of this iteration of the Secondary theme actually DOES make it a good candidate for C as S aftermath, even if it didn’t appear in the exposition... I'm honestly not sure whether I think it's sonata success or failure...

Thank you for the video! Really enjoyed it!

Great work of analysis: please more of the lieder and works of Schubert, Schumann, Mahler, Wolf and Frank..🙏🏻

I cannot say nough about the contribution of this channel to future generations to learn classical music. Yes, there are only 17 likes with 2 comments. In light of Taylor Swift's 1 bilion dollar gross revenue in her 2023 tour, classical music becomes muzeum art. But after 100 years, future generations can only cont on sits like this to re-learn music of great minds for the same reason we still read publications of Charles Rosen or Donald Fracis Tovey, etc., I remember a pianist said : I record (knowingly no more than a few hundred purchaser could consider buying the CD) is to preserve my contributions....That can be Schubert or Beethoven's mindset when they continued to create amid the ups and downs of their natural lives. As far as Brahms Piano Concerto No. 2, this is the only site offering analysis, let alone using THE best theory. 💥💥💥

Great conversation! Love learning new things everyday. 👍🏼

Sonata She Wrote is one of three websites in this world teach music the right way.

Beautiful music. ❤

That was a joy. Thank you💐💐💐💐💐

Interesting. Now, this is not to criticize your approach. I do like that people are into musical theory, but I have never really liked these types of musical analyses, even when studying music myself. Despite the analysis, I feel Tchaikovsky's 6th symphony lies beyond the theories of harmony and melody and music, and as something more divine, emotional, direct than that. It didn't quite catch still why I love the symphony so much. It is the most romantic symphony ever composed, that I think, the ultimate embodiment of that artistic movement, the most extreme stuff you will ever hear. Well, Mahler's symphonies and Rachmaninoff's 2nd are close second. And why not Beethoven's 5th and some others of his too. But nothing somehow every comes close to Tchaikovsky's 6th. I have listened to this symphony for well 10 years and it never stops surprising and amazing me. It is not like Tchaikovsky composed it. It just existed and he discovered it. Sometimes by dissecting something you destroy it. You take a living creature apart and examine its organs. But in the process the animal dies and you will never understand how the animal acts and feels and thinks just by looking at the individual parts. If you get what I mean.

The music of despair in the midst of passion not to mention love