Performer as Narrator: The Second Movement of Franz Schubert’s Piano Sonata in A Major D959

Abstract

This paper investigates how a performer might engage with the construction of narrative experiences in and through the performance of the Second Movement of Schubert’s Piano Sonata in A Major, D959. The investigation is based on the understanding of the role of the performer as narrator in the performance of early nineteenth-century piano music in general and Schubert’s Piano Sonata in A Major, D959, in particular. In addition to considering aspects of the musical context in Schubert’s own time, this article will shed light on a ‘paradigm shift’ between what Lawrence Zbikowski termed ‘static form’ and ‘dynamic form’. The traditional large-scale form, such as sonata-form, represents the ‘static form’ which consists of balanced structure built from regular sub-units with clear harmonic connections between each other. The ‘dynamic form’ was conceived as ‘form as process’ where the emphasis was given to a performer in defining the musical structure throughout a piece. This creative role of a performer in giving shape to music suggests the idea of narration and the Second Movement of Schubert’s Piano Sonata in A Major, D959, presents an interesting example for musical narration in early Romantic music. There appears to be no consensus as to a ‘stylistically correct’ rendition of Schubert’s Piano Sonata in A Major, D959, and it possesses some unique musical features, which invite performers and researchers to conduct an investigation of the sonata.