• Impressive late works for piano four-hands
• Notes on articulation, pedal use and Schubert’s notation of accents
• Practical page turns and spacious engraving
• Foreword (Ger/Eng) and Critical Commentary (Eng)
• Editor: Christa Landon

The “Six Grandes Marches” op. 40 – D 819 arguably rank among Schubert’s most impressive late works for piano four-hands. He may have composed them during his second stay at Zselíz Castle, where he was engaged as piano teacher to the two countesses Marie-Therese and Karoline Esterházy and wrote numerous piano duets. These musically varied marches appeared in quick succession in two volumes in 1825. Each march features a contrasting lyrical trio section and together they span a range that is highly characteristic of Schubert’s personal style – from echoes of military music through summery, carefree passages to the highly dramatic funeral march, the latter exemplified in the “Grande Marche” in E-flat minor No. 5, seemingly anticipating Chopin.

In the chapter on piano playing in Schubert’s day, Mario Aschauer addresses, amongst other things, questions on articulation, pedal use and the execution of ornamentation.