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I don't think many posters read the initial post, because the original repertoire list that the op can play doesn't have any Schubert, Mozart, or Beethoven at all..

@polyphonist, the list you refer to is the op's current repertoire...

I see. Well, it's late and perhaps I'm not reading clearly

I did actually read the initial post, it was just a while ago so I got a bit confused. Sorry about that folks.

Ahahaa, no problem. And holy cow, so many spelling mistakes on my part...I shouldn't be posting through a tablet :P

Did you not read the post that the OP added to this thread, when he wrote :

"Okay, after doing some listening, I've decided which pieces I'd like to work on.

Schubert - A minor sonata, D. 537,
Beethoven - sonata no. 6 F Major, op. 10, no.2,
Mozart - b-flat Major sonata no.13, K333,"

Schubert Sonata D537

It’s kind of BruceD to put us on track with the OP’s choice ...

But heck ... talk about having a “tiger by the tail” ... this is Schubert at his busiest ...
only an advanced member of our bunch can possibly take
on this clatter ... which bustles along at a snappy pace.

So far I’d played up to m12 ... and might have to see my orthopaedic if I get anywhere near the Allegro ma non troppo.

But what really beats me is the OP chappie who says

“I have no Beethoven, no Brahms, no Scarlatti, no Schumann, no Schubert, no Mozart...etc.! “

Just imagine not having had a bash at Beethoven’s
Moonlight, Pathetique, Appassionata, Waldstein and 109, 110, 111.
Or Brahms waltzes and Schumann Kinderscenen.

Talk about not seeing the wood for the trees.

The variety I was speaking of has more to do with adding new composers to my repertoire whom I have not played before. Perhaps it would be better to look some impromptus by Schubert, instead of the sonata.

Certainly if you're going to add a Mozart and/or a Beethoven Sonata to your repertoire, a look at some of the Schubert Impromptus might be a better (on personal opinion, of course) way of adding another late-Classical/early-Romantic composer to your repertoire.

Of the eight Impromptus, there are six that I really like, one that I somewhat like; so, seven out of eight isn't bad for one composer's single genre, is it? The repetitions that are found in the Sonatas - some at great length - are also found in the Impromptus - that just is part of the way Schubert wrote.

Regards,

Out of curiosity: which impromptu do you not favor?

-J

You beat me to it.

Speak up, Bruce!

Important pieces for you to have:

Chopin op 66
Brahms G-minor rhapsody
Beethoven sonatas: Tempest, Pathetique
Mendelssohn Rondo-Capriccioso
Debussy preludes (Ondine, Bruyeres are both nice)

I studied Mozart's KV 333 as a teenager and still play it from time to time.

The biggest technical challenge I have in the first movement is with the sequences were you have downwards trill scales (I don't know if there is a musical term), like c-d-b-c-a-b-g-a-f. My fingers are maybe not as flexible as they used to be.
The second movement is in sonata form and has very interesting harmonies in the musical development.
The third movement is a beautiful rondo I like to use as a warm-up piece. But the technical difficulties with the jumping scales remain.

If you want to include a Schubert impromptu, I'd recommend op.90/2.

I'm studying K.333 right now.

For me the 16th notes in the development of the first movement are very difficult to get exactly in sync at tempo. The slow movement needs excellent voicing, as well as a carefully chosen tempo. My teacher and I like a fairly fast tempo for the third movement which makes some of the scales patterns particularly tricky, especially the long section right before the cadenza. Very difficult especially if you want to get that effortless pearl-like sound that is so important in Mozart.

Is anyone familiar with Mozart's Sonata in B flat, K 570?