Schubert in the European Imagination


Book Description

The concept of Schubert as a feminine type began in 1838. This work examines the historical reception of Franz Schubert as conveyed through the gendered imagery and language of 19th and early 20th century European culture. The figures discussed include Musset, Sand, Nerval, Maupassant, George Eliot, and others.













Schubert's Late Music


Book Description

A thematic exploration of Schubert's style, applied in readings of his instrumental and vocal literature by international scholars.




Schubert's Fingerprints: Studies in the Instrumental Works


Book Description

As Robert Schumann put it, 'Only few works are as clearly stamped with their author's imprint as his'. This book explores Schubert's stylistic traits in a series of chapters each discussing an individual 'fingerprint' with case studies drawn principally from the piano and chamber music. The notion of Schubert's compositional fingerprints has not previously formed the subject of a book-length study. The features of his personal style considered here include musical manifestations of Schubert's 'violent nature', the characteristics of his thematic material, and the signs of his 'classicizing' manner. In the process of the discussion, attention is given to matters of form, texture, harmony and gesture in a range of works, with regard to the various 'fingerprints' identified in each chapter. The repertoire discussed includes the late string quartets, the String Quintet, the E flat Piano Trio and the last three piano sonatas. Developing ideas which she first proposed in a series of journal articles and contributions to symposia on Schubert, Professor Wollenberg takes into account recent literature by other scholars and draws together her own researches to present her view of Schubert's 'compositional personality'. Schubert emerges as someone exerting intellectual control over his musical material and imbuing it with poetic resonance.




Schubert's Winter Journey


Book Description

An exploration of the world’s most famous and challenging song cycle, Schubert's Winter Journey (Winterreise), by a leading interpreter of the work, who teases out the themes—literary, historical, psychological—that weave through the twenty-four songs that make up this legendary masterpiece. Completed in the last months of the young Schubert’s life, Winterreise has come to be considered the single greatest piece of music in the history of Lieder. Deceptively laconic—these twenty-four short poems set to music for voice and piano are performed uninterrupted in little more than an hour—it nonetheless has an emotional depth and power that no music of its kind has ever equaled. A young man, rejected by his beloved, leaves the house where he has been living and walks out into snow and darkness. As he wanders away from the village and into the empty countryside, he experiences a cascade of emotions—loss, grief, anger, and acute loneliness, shot through with only fleeting moments of hope—until the landscape he inhabits becomes one of alienation and despair. Originally intended to be sung to an intimate gathering, performances of Winterreise now pack the greatest concert halls around the world. Drawing equally on his vast experience performing this work (he has sung it more than one hundred times), on his musical knowledge, and on his training as a scholar, Bostridge teases out the enigmas and subtle meanings of each of the twenty-four lyrics to explore for us the world Schubert inhabited, his biography and psychological makeup, the historical and political pressures within which he became one of the world’s greatest composers, and the continuing resonances and affinities that our ears still detect today, making Schubert’s wanderer our mirror.




Analyzing Schubert


Book Description

When Schubert's contemporary reviewers first heard his modulations, they famously claimed that they were excessive, odd and unplanned. This book argues that these claims have haunted the analysis of Schubert's harmony ever since, outlining why Schubert's music occupies a curiously marginal position in the history of music theory. Analyzing Schubert traces how critics, analysts and historians from the early nineteenth century to the present day have preserved cherished narratives of wandering, alienation, memory and trance by emphasizing the mystical rather than the logical quality of the composer's harmony. This study proposes a new method for analyzing the harmony of Schubert's works. Rather than pursuing an approach that casts Schubert's famous harmonic moves as digressions from the norms of canonical theoretical paradigms, Suzannah Clark explores how the harmonic fingerprints in Schubert's songs and instrumental sonata forms challenge pedigreed habits of thought about what constitutes a theory of tonal and formal order.




Harmony in Schubert: Harmonic progression; 2. Line progression; 3. Common prolongations and successions; 4. Chords built on bII, on III, and from the parallel key; Part II. Masterpieces: 5. 'Ganymed' (D. 544 6. Quintet in A Major ('Trout', D. 667), movement 1; 7. Symphony in B Minor ('unfinished', D. 759), movement 1; 8. Piano Sonata in A Minor (D. 784), movement 2; 9. 'Die junge Nonne' (D. 828); 10. Four Impromptus (D. 899); 11. 'Auf dem Flusse' from Winterreise (D. 911, No. 7); 12. Piano Sonata in B flat Major (D. 960), movement 1; Epilogue; Bibliography


Book Description

This book develops fresh ideas on harmony through analyzing the music of one of Western music's true innovators, Franz Schubert.




Self-quotation in Schubert


Book Description

Examines the history of musical self-quotation, and reveals and explores a previously unidentified case of Schubert quoting one of his own songs in a major instrumental work.