Masterpieces by Franz Schubert: Sparkling classical works left by the King of Song. Recommended classical music.

Minuet in A major, D 334Franz Schubert

Minuet in A major, D. 334

This “Minuet in A major, D334” is, as its title suggests, a minuet composed by Schubert around 1815, when he was in his teens.

It proceeds gently in typical minuet fashion, but from the trio in the latter half, the repeated left-hand chord strokes can pose a stumbling block for beginners.

That said, if you have a firm sense of 3/4 time, there’s nothing to be overly afraid of.

Focus on not overexerting the left hand and on playing the right-hand slurs smoothly to shape the beautiful melody, and do your best to perform gracefully all the way to the end!

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Waltz in A-flat major, D. 978Franz Schubert

D.978 – Schubert

Schubert left many waltzes for solo piano, and it is said that among the pieces he improvised before close friends, he carefully wrote out the ones he liked, which were later included in various collections.

Perhaps because they arose spontaneously for his friends, Schubert’s solo piano waltzes are accessible and relatively short, with many repeated sections; they seldom demand advanced technique, making them easy to tackle.

The Waltz in A-flat major, D.

978, discussed here, appears to have an unknown year of composition, but it is a light, graceful piano dance about a minute long that evokes the genial atmosphere of the salon.

It is quite manageable for upper-beginner level players, but its simplicity can make it prone to sounding monotonous, so even within that single minute, be sure to shape the repeated phrases with clear expression.

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Impromptu, Op. 90 No. 2Franz Schubert

Impromptu in E-flat major, Op. 90 No. 2 (Schubert) – Schubert: Impromptu in E-flat major, Op. 90 No. 2

Schubert is known as a composer who left behind an enormous body of work despite his short life of just 31 years.

This piece, composed in 1827 as part of a set of four Impromptus, is considered one of Schubert’s representative piano works.

It is characterized by passages based on rapid descending scales and arpeggios, and is highly regarded for its lyrical beauty, complex structure, and expressive depth.

Even pianists with a moderate level of experience should find it quite playable.

If you perform this piece admirably at a recital, you will likely feel a real sense of growth in your piano technique.

Impromptu in G-flat major, Op. 90 No. 3Franz Schubert

Schubert – Impromptu in G flat major, Op. 90 No. 3 – pianomaedful

This piece is by Franz Schubert, a composer emblematic of the 19th-century Romantic era.

It is the third piece from his set of Impromptus composed in 1827, notable for its beautiful melody characterized by flowing sextuplet arpeggios.

Over gentle harmonies, the inner voices are ornamented, supporting a long-breathed, singing line.

This work, which conveys Schubert’s delicate sensibility and profound expressiveness, is also very popular among piano students.

The sense of meter is highly distinctive, so pay careful attention to which beat each phrase aligns with as you play.

Some arpeggios are broken chords, so as you learn them, memorize where the flats occur on the keyboard.

Holding long notes with the right hand while playing the arpeggios can be quite challenging at first, but similar figurations appear in works by other composers such as Liszt; with continued practice, you’ll be able to apply this technique to other pieces as well.

Impromptu in G-flat major, Op. 90 No. 3Franz Schubert

Schubert: Impromptus No. 3 in G-flat major, D 899, Op. 90 / Performed by: Akira Imai

What followed Classical music was Romantic music.

Romantic music departed from the earlier pursuit of axioms in musical practice, instead prioritizing human emotions and sensations; in other words, it does not demand strictness in compositional technique.

Several of Schubert’s impromptus are quintessentially human-centered.

Impromptus No. 3 in B-flat major, D 935, Op. 142Franz Schubert

Schubert: Impromptus No. 3 in B-flat major, D 935, Op. 142 / Performed by Akira Imai

Let us introduce a work by Franz Schubert, a leading figure of early 19th-century Austria.

Composed in 1827, this piece is written in a theme-and-variations form, consisting of a theme followed by five variations.

It is characterized by a familiar melody that includes quotations from incidental music by Schubert himself.

Each variation employs various techniques—such as dotted rhythms, ornamentation, and triplets—beautifully fusing Viennese Classical virtuosity with Romantic lyricism.

Among Schubert’s piano works, this impromptu is one of the most highly regarded and frequently performed.

It is a recommended piece for those beginning piano through intermediate players who wish to experience Schubert’s world.

In Japan, it has also been used in commercials for TEPCO (Tokyo Electric Power Company), so you might find yourself thinking, “Oh, it’s that piece!” as you play it.

Fantasy in C major, Op. 15, D 760 “Wanderer Fantasy”Franz Schubert

Schubert / Fantasy in C major “Wanderer Fantasy,” D 760, Op. 15 / Atsushi Imada

Franz Schubert’s Fantasy in C major, Op.

15, D.

760, is an advanced piano work in four movements.

There’s even an anecdote that Schubert himself couldn’t play it well and said, “Let the devil play a piece like this.” The left-hand arpeggios in the fourth movement, in particular, are a torment for performers.

But beyond virtuosity, the piece demands profound musicality.

Seamlessly blending Schubert’s passion and craft, it’s perfect for anyone who wants to experience the essence of piano performance.

There is also an arrangement by Franz Liszt, so comparing versions is highly recommended.

Fantasia in C major, Op. 15, D. 760 “Wanderer Fantasy”Franz Schubert

Schubert / Fantasy in C major “Wanderer Fantasy,” D 760, Op. 15 / Atsushi Imada

A work by Franz Schubert, a composer emblematic of the Romantic era.

Composed in 1822, this piece is based on the melody of Schubert’s own song “Der Wanderer.” It consists of four movements and is notable for being performed without breaks.

In the second movement, the “Wanderer” melody is clearly quoted, strongly reflecting themes of loneliness and drifting.

Technically, it is extremely difficult, and Schubert himself is said to have remarked, “Let the devil play a piece like this,” acknowledging its challenges.

It’s a piece that is sure to shine on the recital stage—a true masterpiece that experienced pianists should definitely try.

Fantasy in F minor, Op. 103, D 940Franz Schubert

Schubert: Fantasy in F minor, D 940, Op. 103 Pf. Hiroshi Kurokawa; Pf. Ikuko Nakaoki

The celebrated Fantasy in F minor, Op.

103, D 940—said to have been composed in the year Franz Schubert died—is a single-movement work that, in practice, unfolds like a four-movement piece, each section possessing its own character.

In that sense, it resembles the Wanderer Fantasy.

From measure 133, a dissonance appears where F and E clash by a semitone; since this is difficult to bring out clearly in a piano duet, be sure to practice the final section thoroughly.

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Demon KingFranz Schubert

Franz Schubert: Erlkönig

A song composed by Franz Schubert when he was 18.

It is said he was so moved by Goethe’s poem that he completed it in a single night.

The piece depicts a father fleeing from the Erlking while galloping through the night on horseback, clutching his ailing son.

The piano’s repeated notes evoke the horse’s gallop and the parent and child’s anxiety and urgency, brilliantly expressing the Erlking’s seductive enticements, the father’s desperation, and the boy’s terror.

First performed in 1821, it has since been performed continually by many singers and pianists.

Its unique blend of fear and poignancy makes it perfect for Halloween.