During the last months of his life, Schubert turned his heart towards more intimate musical genres: Lied and the piano sonata. It seems miraculous that in only a few weeks he composed three monumental sonatas (D 958, D 959 and D 960), conceived as a trilogy with common ideas. It could seem paradoxical to speak of a late style in a composer who died at age 31. And, yet, the 1828 sonatas encapsulate some of his essential features: evocation of the infinite, a slowing down of tempi, grandeur of form and boldness of modulations. The performance of these three great works in the one recital immerses the listener in a visionary artform −spiritually associated with the black paintings by Goya, who died the same year as Schubert− and demanding a change in the listening time scale.
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