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This is the Liszt arrangement, "Cotta Edition". Performed by: Leslie Howard. This serenade is a classic example of Schubert's outstanding lyrical facility, as well as his penchant for long melodic lines. There is little interruption in the fluttering harp-like broken triad accompaniment, creating a tense contrast with the spacious and languid melody—an anticipation of Felix Mendelssohn's Songs Without Words. With no repeats, the melody develops into a shadowy and frequently modulating middle section before returning to its relaxed flow. Though written in G♭ major and 4/2 meter, the work was printed by the first publisher, almost 30 years later, in G major and 4/4 meter. The original version is now generally preferred. Amongst Liszt’s Schubert editions, two stand out: Liszt edited all of the Impromptus, with minor suggestions of occasional alternative passages or distribution of material between the hands, but nothing in any of the remaining Schubert editions would justify a place in the Liszt catalogue as transcriptions except two works. The Impromptu in G flat major has only one alternative passage: its recapitulation is astonishingly rearranged with fulsome left-hand arpeggios and the melody played an octave higher reinforced with chords in the right hand; the rest of the piece is unaltered in any way. (This work appears in Liszt’s edition, as in so many nineteenth-century printings of the piece, in G major, and in four crotchets to the bar rather than eight. Liszt was apparently unaware of the original key, which is restored here, and in which Liszt’s altered passage can be just as readily performed.) Reuploaded due to copyright