Edition directed by André Krust
French, German, English and Spanish texts

In that the autograph manuscript of the "Moments Musicaux" has never been found, this edition was produced on the basis of the original edition: (E.O.) M.J. Leidesdorf, dated July 11, 1828, published in two booklets. However, nr3 (entitled "Russian Air") was published in volume 1 of the Musical Album by Sauer et Leidesdorf five years earlier, on December 12, 1823. Likewise, nr6 (entitled "Complaint of a Troubadour"), was published in the Musical Album, volume 2, page 22/25 on December 11, 1824.
Only a copy of nr3 (entitled "Russian Air") remains available, as part of the Albert Stadler collection: U.B. Lund, Sammlung Tausig.
Schubert brought these six works together in a cycle entitled "Moments Musicaux", but which he could equally have called "Lieder ohne Worte" (Romance without words).
After closely examining and comparing original editions, the publisher took great care in the presentation of the musical text and in fingering notations.
The few specific problems regarding the interpretation of these "Moments Musicaux" are provided in foot-notes. The additions noted between parentheses are by the publisher.

An impromptu in an instrumental composition supposedly written "in promptu" or improvised. The term "impromptu" first appeared in the work of Jan Vaclac (Hugo) Vorisek (1791-1825, the Impromptus Opus 7 were published in 1822). Schubert takes up this title and uses it for his very structured lyric Pieces.
D899/1 - A simple March theme, a somewhat popular Ballade theme.
D899/2 - Perpetual movement (Perpetuum mobile) with the central part in waltz form and with very marked accents and rhythms.
D899/3 - Lied ohne Worte (song without words).
D899/4 - Similar to nr2 in construction with a "pathetique" central episode.
D935/1 - Movement in a loose sonata form.
D935/2 - Rather slow minuet broken up by an agitated trio.
D935/3 - Variations on the theme for the 4th acts interval in Rosamunde (music for the theatre).
D935/4 - A frantic dance of Central European inspiration.
About Schubert, Schumann once wrote:
"He got sounds for the most delicate impressions, for the thoughts, even for the different situations of our life. However numerous the man's thoughts and efforts, the music of Schubert responds to all of these diversities?"
Schubert, musician of the soul, of love, of illuminating shadows.
Using the autograph manuscripts and original editions available today, we have produced an edition which corresponds faithfully to the intentions of the composer. Schubert often did not complete phrasing marks: we have restored his omissions, here included in parentheses. The same was done for some accentuations (dotted notes, legatos, accents, etc.).
At the bottom of the page, some interpretations of ornaments (grupettos, appoggiaturas, etc.) are recommended.