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Of all the great composers, none - not even Mozart - has been so dogged by myth and misunderstanding as Franz Schubert. The notion of Schubert as a pudgy, lovelorn Bohemian schwammerl (mushroom) scribbling tunes on the back of menus in idle moments has never quite been eradicated. In this major new biography, Brian Newbould balances discussion of Schubert's compositions with an exploration of biographical influences that shaped his musical aesthetics. Schubert: The Music and the Man offers an eminently readable description of a musician who was compulsively dedicated to his art - a composer so prolific that he produced over a thousand works in eighteen years. Gifted with an intuitive know-how, coupled with a Mozartian facility for composition, Schubert combined the relish and wonder of an amateur with the discipline and technical rigor of a professional. He moved quickly and comfortably among genres, and sometimes composed directly into score but many pieces required painstaking revision before they satisfied his growing self-criticism. Examining afresh the enigmas surrounding Schubert's religious outlook, his loves, his sexuality, his illness and death, Newbould offers above all a celebration of a unique genius, an idiosyncratic composer of an astonishing body of powerful, enduring music.
The eleven essays that comprise this volume represent some of the most significant strands of current Schubert research. Arising from an international conference organized by the Schubert Institute (UK) and the University of Leeds in 2000, the emphasis of the papers is on issues of performance practice, analysis and hermeneutics. In the opening essay of the book, Charles Rosen illuminates some of Schubert's compositional practices and their implications for performers. Further performance problems are explored by Walther D?rr who highlights the paradox between Schubert's precise notation of pitches and rhythm and his imprecision in relation to dynamics and articulation. As Roy Howat makes clear in his essay, the performer needs to read between the lines of even the best Schubert editions.Aspects of Schubert's style are explored in other essays. Clive McClelland discusses the composer's use of ombra style, while Brian Newbould examines Schubert's techniques of compression and expansion as illustrated in his dances and in sonata movements. Robert Hatten explores the G major Piano Sonata as pastoral, and James Sobaskie and Nicholas Rast provide complementary analyses of the A minor Quartet.The organization of musical time in Schubert and his relationship in this regard to later composers is the subject of Susanne Kogler's essay, while Walburga Litschauer discusses Schubert's early piano sonatas and previously unknown versions of them. Various enigmas surrounding Schubert's life and music are discussed by Roger Neighbour.With contributions from both internationally acclaimed and younger scholars, this volume represents a further step in the multifaceted direction that Schubert research is taking.
The collection of essays in this volume offer an overview of Schubertian reception, interpretation and analysis. Part I surveys the issue of Schubert‘s alterity concentrating on his history and biography. Following on from the overarching dualities of Schubert explored in the first section, Part II focuses on interpretative strategies and hermeneutic positions. Part III assesses the diversity of theoretical approaches concerning Schubert‘s handling of harmony and tonality whereas the last two parts address the reception of his instrumental music and song. This volume highlights the complexity and diversity of Schubertian scholarship as well as the overarching concerns raised by discrete fields of research in this area.
An insightful biography of the great composer, revealing Schubert's complex and fascinating private life alongside his musical genius Brilliant, short-lived, incredibly prolific--Schubert is one of the most intriguing figures in music history. While his music attracts a wide audience, much of his private life remains shrouded in mystery, and significant portions of his work have been overlooked. In this major new biography, Lorraine Byrne Bodley takes a detailed look into Schubert's life, from his early years at the Stadtkonvikt to the harrowing battle with syphilis that led to his death at the age of thirty-one. Drawing on extensive archival research in Vienna and the Czech Republic, and reconsidering the meaning of some of his best-known works, Bodley provides a fuller account than ever before of Schubert's extraordinary achievement and incredible courage. This is a compelling new portrait of one of the most beloved composers of the nineteenth century.
Schubert's late music has proved pivotal for the development of diverse fields of musical scholarship, from biography and music history to the theory of harmony. This collection addresses current issues in Schubert studies including compositional technique, the topical issue of 'late' style, tonal strategy and form in the composer's instrumental music, and musical readings of the 'postmodern' Schubert. Offering fresh approaches to Schubert's instrumental and vocal works and their reception, this book argues that the music that the composer produced from 1822–8 is central to a paradigm shift in the history of music during the nineteenth century. The contributors provide a timely reassessment of Schubert's legacy, assembling a portrait of the composer that is very different from the sentimental Schubert permeating nineteenth-century culture and the postmodern Schubert of more recent literature.
This book explores the way in which Schubert revolutionised the Lied, transforming folk song into art song through the mixture of dramatic and lyrical vocal genres. By introducing dramatic poetry and musical traits within solo song settings, he turned the Lied into a highly expressive musical medium capable of conveying the complexities and nuances of the new Romantic poetry. In so doing, he created an art form which attracted nearly every subsequent composer of the period. Schubert's numerous dramatic songs have baffled critics from his day to our own. Their unusual stylistic characteristics - through composed form, progressive tonal structures, declamatory vocal lines, illustrative accompaniments - fly in the face of traditional conceptions of the Lied. Dr Hirsch's discussion and analysis of selected dramatic Lieder illuminate Schubert's compositional innovation.
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.

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

David Damschroder

Published: 2010-09-02

Total Pages: 337


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This book develops fresh ideas on harmony through analyzing the music of one of Western music's true innovators, Franz Schubert.
In Rethinking Schubert, today's leading Schubertians offer fresh perspectives on the composer's importance and our perennial fascination with him. Subjecting recurring issues in historical, biographical and analytical research to renewed scrutiny, the twenty-two chapters yield new insights into Schubert, his music, his influence and his legacy, and broaden the interpretative context for the music of his final years. With close attention to matters of style, harmonic and formal analysis, and text setting, the essays gathered here explore a significant portion of the composer's extensive output across a range of genres. The most readily explicable aspect of Schubert's appeal is undoubtedly our continuing engagement with the songs. Schubert will always be the first port of call for scholars interested in the relationship between music and the poetic text, and several essays in Rethinking Schubert offer welcome new inquiries into this subject. Yet perhaps the most striking feature of modern scholarship is the new depth of thought that attaches to the instrumental works. This music's highly protracted dissemination has combined with a habitual critical hostility to produce a reception history that is hardly congenial to musical analysis. Empowered by the new momentum behind theories of nineteenth-century harmony and form and recently-published source materials, the sophisticated approaches to the instrumental music in Rethinking Schubert show decisively that it is no longer acceptable to posit Schubert's instrumental forms as flawed lyric alternatives to Beethoven. What this volume provides, then, is not only a fresh portrait of one of the most loved composers of the nineteenth century but also a conspectus of current Schubertian research. Whether perusing unknown repertoire or refreshing canonical works, Rethinking Schubert reveals the extraordinary methodological variety that is now available to research, painting a contemporary portrait of Schubert that is vibrant, plural, trans-national and complex.
Chamber Music: A Research and Information Guide is a reference tool for anyone interested in chamber music. It is not a history or an encyclopedia but a guide to where to find answers to questions about chamber music. The third edition adds nearly 600 new entries to cover new research since publication of the previous edition in 2002. Most of the literature is books, articles in journals and magazines, dissertations and theses, and essays or chapters in Festschriften, treatises, and biographies. In addition to the core literature obscure citations are also included when they are the only studies in a particular field. In addition to being printed, this volume is also for the first time available online. The online environment allows for information to be updated as new research is introduced. This database of information is a "live" resource, fully searchable, and with active links. Users will have unlimited access, annual revisions will be made and a limited number of pages can be downloaded for printing.