... And really, it generally is musically incompetent to consider this Impromptu as an "etude" (in the sense of a finger excercise), because it definitively is an Impromptu and no etude, so it can´t be meant by Schubert as such. (That´s very simple, isn´t it?!)
Andreas, I couldn't disagree more! First let me make clear that I never said it was "an exercise," rather "an Etude". An exercise is not a study, it is simply an exercise. Also, since it was my admittedly controversial idea to begin with, I will say that under no uncertain terms am I
musically incompetent - I have had too much professional training to allow for that. I won't even begin to justify that scale work is found in Uber-abundance in etudes (of both kinds: the less artistic (Kohler, Czerny, etc.) and the more artistic (Chopin, Henselt, Liszt, etc.)). So I will address other items:
1. the climbing triplet figure of bars 3-4: Well, if anyone had first studied exercises nos. 3 and 4 of the 3rd section (Exercises based upon the Chromatic Scale) of "The Complete School of Technique for the Piano" by Isidor Philipp, they already would have mastered these type passages.
2. A similar study to that indicated above is found in Pischna's 60 Technical Studies at exercise no 18.
3. The Impromptu bears great resemblence to Moscheles Op. 70 (24 Studies for the Piano) No.1
4. The Impromptu bears great resemblence to Moszkowski, Op.72 (15 Etudes de Virtuosite) No.6
5. MacDowell's Twelve Virtuoso Studies Op.46, has etude no. 11 titled "Impromptu" and has frequent RH work that is not too dissimilar from the Schubert.
6. While we're at it, look at the enormous similarity of the 3rd
Impromptu with Czerny Op.299, No. 27!
I wonder if your opinion of "Etude" is a very lowly form that struggles to be musically respectable. I don't share that view. I assure you that I am not on a crusade to "retitle" the 2nd Impromptu as an etude, however, I very much did intend to bring to the discussion a justified
view that I believe has bearing on the performance of the work. In fact, this is precisely the sort of thing that one might hear at a masterclass.