Tuesday, April 10, 2012
The article discusses several of Schubert’s late works, like the Mass in E flat. Wigmore writes, “The apocalyptic, harmonically visionary Sanctus is a musical counterpart of the molten canvases of Turner and late Goya, while the ‘Domine Deus’ and the Agnus Dei are unprecedented in their violent intensity” (p 28). There is the song cycle posthumously titled Schwanengesang. There are also the piano sonatas in C minor, A major, and B flat major (D 958, 959, and 960), and the C major string quintet. Schubert also began to sketch a D major symphony which, according to one pianist interviewed by Wigmore, looks ahead to Mahler's Das Lied von der Erde.
Another pianist, Alfred Brendel, is quoted, “Mozart lived his life and arrived at a kind of late style. Schubert, on the contrary, was in the middle of a tremendous development when he died.” Wigmore continues, “with theose visionary late works in mind it is hard---far harder than with Mozart, as Brendel implies---to escape an aching sense of what might have been” (p. 33).