Nice example, eru. But that's S being melodically inventive (which he certainly is!) rather than developmental - he's really only spinning out the neopolitan 6th Gb major passage to give more heft to the return to Bb a few bars later, right? It's still only in phase 1 of the exposition.

A non-pianist writes:

I think specific qualities of texture are more important in Schubert than in Beethoven, with the result that on "modern" pianos more or less everything essential about Beethoven survives, but something crucial is missing from Schubert unless it's played on the "right" kind of instrument. Also, Beethoven's sense of timing is very different from Schubert's and contributed strongly to subsequent ideas (Liszt, Wagner etc.) of what constitutes "dramatic" and "exciting" music. Schubert's sense of timing frequently involves a compulsion to "hold on" to some thought/texture, even as it slips away as if waking from a dream, something quite alien to Beethoven's way of thinking and which requires a certain kind of attention on both the performer's and the listener's part so that it doesn't come across as undramatic "note-spinning".

nipped

Why, and what was it, Turfman?

I attended a concert by the Russian Academic Chamber Orchestra, Musica Viva (or at least much of their string section) last night. They played Mozart's Divertimento D Major, K. 136 - a very vivacious performance - Haydn's Concerto for Cello and Orchestra C Major, which was hampered a bit by the occasional flubbed note by soloist (and conductor) Sergei Roldugin. The second half was the Russian set, featuring Tchaikovsky's Serenade For String Orchestra, Op. 48, a piece that displayed a superb dynamic range, while justifying the identification as a serenade throughout, which I thought spoke well of the players' restraint and skill, and Shokstakovich's Scherzo, Op 11, which was, simply, wild, and played with a suitable energy.

So, far this year, I've seen a solo piano recital, a wind section from France and now this. If I see a percussion ensemble next, I suppose I can put it all together in my mind and imagine I've attended a performance by a symphony orchestra!

Interesting recital by Yevgeny Sudbin last night.  He opened with two Haydn Sonatas (47 & 60) which he played crisply and with obvious affection.  The two Chopin Mazurkas (23 & 25) that followed were a different matter; I’m sure he played them well enough but my mind kept going back ten years or so to another Evgeny in his twenties and I couldn’t help thinking I found Kissin’s readings much more exciting.  It could just be that I was younger then, but I don’t think so.  Kissin playing Chopin miniatures was electric then (and probably still is).

After the interval the advertised Medtner sonata was replaced with four Mazurkas by…Scriabin.  I know my fellow board members are very erudite and might not have been surprised; but Scriabin and dance miniatures is not a combination that would have occurred to me.  Anyway, these Op 3 pieces (nos 3,6,1&4 to be precise) were most enjoyable – so much so that I bought Sudbin's disc with these pieces on it after the recital.  The fitting climax, though, was Ravel’s ‘Gaspard de la Nuit’.  Fellow non-musicians will know what I mean when I say this sounds as though it’s phenomenally difficult to play.  Maybe it’s an illusion but, like many of Liszt’s piano works, there seems to be so much going on at the same time that it’s hard for the listener, let alone the performer, to keep up.  But, as with Liszt, the overall effect is always enjoyable and exciting – especially in live performance.  Sudbin brought it off wonderfully and had everyone clamouring for an encore which, understandably but frustratingly, he didn’t supply (Kissin, of course, would have given us half a dozen but we can’t have everything, can we?).

To put the icing on the cake, Sudbin wrote his own programme notes which were very informative and gave an insight into his enthusiasm for the music.  The English was so  good that I’m pretty sure he got someone to tidy them up but I mustn't carp.  His Rachmaninov 1 is now firmly on my Proms ‘must see’ list.

I have been exposed to Scriabin before, t-p; mostly the large orchestral works but also piano sonatas etc.  I wouldn't have been surprised by Preludes, Etudes, Nocturnes etc.  I just didn't associate him with Mazurkas or dances in general.  I notice, though, that my new disc has not just the four Mazurkas but a Waltz as well.  I'm looking forward to playing it when I finally catch up on my work after my 400-mile round trip to the recital.  I hope you succeed in finding some of Sudbin's work on the net.