Franz Schubert had written the Impromptus in 1827 and it was published in two sets of four. The first set was published during his lifetime however the second one was published presently after he diagnosed as typhoid fever and death in 1828. Impromptus appeared as a form of music early in the romantic movement. In this sense, the first known usage of the word Impromptus was in 1817 and was suggested by his publisher Haslinger. It had described the piano composition of Czech composer JanVáclav Voříšek Voříšek s Impromptu compositions may have a significant effect on Schubert’s own contribution to this type, like Chopin was inspired by John Field’s Nocturne. The op 90 no 1 and 2 occurred and printed by December 1827 but were not received as passionately as Haslinger had hoped and thus the remaining works failed unpublished. The op 90 no 3 and 4 were finally published only in 1857 by Haslinger’s son who fit to transpose no 3 from G flat major to G major in order to not scare amateur pianists with too many flats.
Nowadays the Impromptus are recognized as masterpieces of the early Romantic period anticipating features followed later by Schumann Mendelssohn Chopin and Brahms who moved away from writing Sonatas and concentrated instead on smaller forms Impromptus op 90 no 3 in G flat major was one piano repertoire that renowned as the most lyric pieces. This repertoire was in the quite uncommon key of G flat major and however, it tempo was marked andante and the meter was double alla breve which minimizes the bar lines and clearly indicates a not too slow tempo with continuous flow. The awkwardness of the Gflat key drives Schubert to enharmonically transform bb 78 9 to G natural minor. It is in a conventional triple song form of A B A where the B section from b 25 is in the relative minor of Eb minor. Its main subject is a classical period of 4 4 which is followed by another slightly more activated classical period of 4 4 which is repeated with slight variations at the bass. Its perfect fluency and balance are maintained also in the more excited section B in the relative minor Eb with its wonderful modulations to C flat bb 31 35 and back to E flat bb 47 51.
The return of the main subject A at b 55 is quite usual except for a slight abridgment at 70 and the closing section from 75 with its emphatic German sixth chords at b 76 and b 81. The general character of the B section is again a distinctive Schubertian mixture of deep sadness with heroic awareness of it and compliance at its being objectively there as part of the human condition. There are no complaints no desperate cries and no revolts in Schubert unlike in Beethoven for example but rather a realistic acceptance of the pain and agony of the human condition. It is a similar kind of feeling to that expressed by the altogether different opening of the C minor Impromptu discussed above or the middle sections of nos 2 and 4 as well as in the first and second movements of the B flat sonata D 960 for example and many other works. Though the accompaniment runs smoothly in sixlets i.e six notes per half one should note sometimes a subtle rhythmic ambivalence between a half minim and a quarter crotchet e.g in b 18. Schubert was very fond of such ambivalences which sometimes have the effect of a sort of hemiola. See for instance Moment Musicaux no 1 in C major bb 6 8 15 17 27 29 which though written in 3 4 are naturally heard in 2 4. The same occurs with even greater effect in the third section bb 38 44.