El piano tardío de Beethoven y Schubert: extinción de la formasonata clásica en busca de nuevas vías de expresión

Abstract

Around the year 1814, when Franz Schubert began composing his first works, Ludwig van Beethoven - a valued and admired figure, had already fascinated the Viennese public with his compositions and piano performances. On the other hand, the talent of Franz Schubert, Beethoven's admirer, did not become well-known until several years after his death. However, the musical production of both composers formed part of the most relevant and important stages in our history: the transition from Classicism to Romanticism. The term Classicism was acquired in the second half of the eighteenth century, a meaning related to the "select”, “elected” or “distinguished”, based on nonquantifiable criteria of essential quality associated with the most inherently human qualities, timeless values that establish a direct link between the classic spirit and humanism. Therefore, what defines the Classic is the universal scope of its creation under the scope of their emotional theme, most associated with an existential problem linked to the generality of the human Masque to an individual and generalised vision. This humanistic and universal message occupies an important part in the work of Beethoven and Schubert, being especially significant in his last sonatas for piano, from which the sonata form acquires other avenues of expression. The main objective of this paper is to investigate, describe and clarify through a thorough study of the historical and esthetic aspects, an analysis of lthe elements that make his musical language and the significance of Humanism within his music, the possible relationship between the last piano sonatas these two composers beyond their temporal coincidence. We will carry out this across a deep study of the historical andesthetic aspects, of the analysis of the elements that shape.