Zeitschriftenartikel: „Franz Schubert, Dramatic music“

1

Lee, M. Owen. „Fierrabras. Franz Schubert“. Opera Quarterly 8, Nr. 2 (1991): 179–81. http://dx.doi.org/10.1093/oq/8.2.179.

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2

Jellinek, George. „Fierrabras. Franz Schubert“. Opera Quarterly 8, Nr. 4 (1991): 137–38. http://dx.doi.org/10.1093/oq/8.4.137.

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3

Rast, N. „Franz Schubert: Music and Belief“. Music and Letters 87, Nr. 3 (01.08.2006): 439–41. http://dx.doi.org/10.1093/ml/gci241.

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4

Kramer, Richard. „Posthumous Schubert: Drei grosse Sonaten fur das Pianoforte . Franz Schubert. ; Der Graf von Gleichen . Franz Schubert, Ernst Hilmar.“ 19th-Century Music 14, Nr. 2 (Oktober 1990): 197–216. http://dx.doi.org/10.1525/ncm.1990.14.2.02a00060.

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5

Rast, N. „Franz Schubert: Das fragmentarische Werk“. Music and Letters 87, Nr. 3 (01.08.2006): 437–39. http://dx.doi.org/10.1093/ml/gci239.

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6

Solomon, Maynard. „Schubert: Family Matters“. 19th-Century Music 28, Nr. 1 (2004): 3–14. http://dx.doi.org/10.1525/ncm.2004.28.1.3.

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Certain anomalous events in the history of Franz Schubert's family raise the possibility that he and his family inhabited a more tumultuous and conflict-ridden domestic universe than has been suspected. Among these are a series of painful losses in his mother's early life, the out-of-wedlock conception of Schubert's eldest brother, Ignaz, and Ignaz's subsequent omission from a schedule of heirs to some family property, along with his extended relegation to the lowly post of assistant teacher for more than a quarter century, until the death of his father, Franz Theodor Schubert, in 1830. In the background of these anomalies is the young Franz Theodor's unexpectedly rapid rise to prosperity in his profession, in which he and his sons had the decisive support of Bishop Josef Spendou, Vienna's superintendent of elementary schools, who was regarded as their "benefactor." Spendou's remarkably extensive devotion to the family's interestsÑincluding supplying a "scholarship" for Ignaz and a valued schoolteacher's post for young FerdinandÑopens for inspection several possibilities--that he may have been Ignaz's biological father, and that he and Schubert's parents may have entered into an arrangement whereby he furnished material and professional support to them in exchange for their raising his son as their own. Ultimately, when Franz Theodor died, Ignaz became the sole inheritor of the family's prosperous school, perhaps thereby closing the circle of pledges and obligations that bound Bishop Spendou and the Schuberts together. Left unexamined here are the potential reactions of Schubert and his siblings to their presumed knowledge of these veiled arrangements.

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Rastl, Peter. „Schubert-Liedertexte“. Die Musikforschung 71, Nr. 2 (22.09.2021): 166–73. http://dx.doi.org/10.52412/mf.2018.h2.305.

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Anhand der Recherche bisher unbekannter Textquellen wird für Franz Schuberts Vokalmusik illustriert, welche Möglichkeiten die literarische Quellenforschung durch die bereits digitalisierten Quellen möglich sind. So können einige der bisher offenen Fragen über Textdichter und Textquellen beantwortet werden. bms online (Cornelia Schöntube)

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Gramit, David, Elizabeth Norman McKay und Brian Newbould. „Franz Schubert: A Biography“. Notes 55, Nr. 1 (September 1998): 105. http://dx.doi.org/10.2307/900364.

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9

Hatch, Christopher, Ernst Hilmar und Reinhard G. Pauly. „Franz Schubert in His Time“. Notes 47, Nr. 3 (März 1991): 751. http://dx.doi.org/10.2307/941876.

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Branscombe, Peter, Peter Gulke, Walther Durr, Werner Aderhold, Walburga Litschauer und Till Gerrit Waidelich. „Franz Schubert und seine Zeit“. Notes 51, Nr. 3 (März 1995): 930. http://dx.doi.org/10.2307/899306.

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11

Lambert, Sterling. „Franz Schubert and the Sea of Eternity“. Journal of Musicology 21, Nr. 2 (2004): 241–66. http://dx.doi.org/10.1525/jm.2004.21.2.241.

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The sea, in its seemingly limitless expanse, symbolized the concept of eternity to a number of important artists of the early 19th century, including Coleridge, Friedrich, and Goethe, who struggled to come to terms with this difficult concept through revision of their initial thoughts and ideas. Goethe's poem Meerestille was set by both Beethoven and Schubert within weeks of one another, and Schubert's two settings, written in the space of only two days, demonstrate the young composer's increasing ability to grasp the existential notion of timelessness as he grappled with Goethe's text. Schubert's musical reading and subsequent re-reading of the poem show how his use of the tritone as a musical symbol of the infinite underwent significant refinement in his second setting.

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Solomon, Maynard. „Franz Schubert and the Peacocks of Benvenuto Cellini“. 19th-Century Music 12, Nr. 3 (1989): 193–206. http://dx.doi.org/10.2307/746501.

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Tellenbach, Marie-Elisabeth. „Franz Schubert and Benvenuto Cellini: One Man's Meat“. Musical Times 141, Nr. 1870 (2000): 50. http://dx.doi.org/10.2307/1004370.

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Waldura, Markus. „Franz Schuberts "Wandererfantasie"“. Die Musikforschung 74, Nr. 3 (23.09.2021): 229–62. http://dx.doi.org/10.52412/mf.2021.h3.3005.

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Franz Schubert’s D760 is entitled “fantasy”, although the four sections of the work recognisably reference the formal models of a four-movement sonata. Since those models appear in their traditional order, the “fantasy” elements have to manifest themselves differently, transgressing the norms of sonata in two ways: Schubert transforms and deconstructs the individual forms of the four-movement model, while suspending the autonomy of each movement. Both strategies are interrelated: by blurring the form of each movement, Schubert opens them up to the following sections. This is rendered plausible because the movements, which connect seamlessly, are derived from the same thematic material.The deconstruction of the formal models manifests itself in the elision of formal units, the interpolation of non-formal sections, and the startling curtailing of developmental procedures within the formal units. These formal licences generate ambiguous structures that do not lend themselves to definite formal interpretations. Thus formal ambiguity is a constituting element of the “fantastic” in D760.The thematic unity of the work is a result of the continuous transformation of a motif first presented in the main theme of the first movement; a process, in which new variants emerge from the synthesis of previous variations. Furthermore, the Presto, which stands in for the scherzo movement of the Fantasy, reverse engineers the sonata form of the first movement (which had been abandoned before the recapitulation) while completing and normalising the form of the first movement by aligning it with the scherzo form. Thus the Presto assumes the formal function of the missing recapitulation, whose “wrong” key of A flat major is “rectified” through the C-major finale.

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Muxfeldt, Kristina. „Schubert, Platen, and the Myth of Narcissus“. Journal of the American Musicological Society 49, Nr. 3 (1996): 480–527. http://dx.doi.org/10.2307/831770.

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When Franz Schubert's friend Franz von Bruchmann returned to Vienna in 1821 from his studies in Erlangen, he brought with him August von Platen's Ghaselen just off the press. Soon after, Schubert set two Platen texts. A reviewer for the Leipzig Allgemeine musikalische Zeitung singled out "Die Liebe hat gelogen" as particularly incomprehensible, in part because he found Schubert's radical harmony to be unmotivated by the text. The daring harmonic language of the second Platen song has struck even recent critics as excessive, yet none have addressed the textual motivation for Schubert's extreme expression. Both poems concern ill-fated homosexual love, "Du liebst mich nicht" most explicitly, if obliquely: the poem is a veiled reflection on the myth of Narcissus, a myth Platen frequently drew on as a symbol for his own homosexuality.

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Weßel, Matthias. „Zyklusgestaltung in Franz Schuberts Instrumentalwerk“. Die Musikforschung 49, Nr. 1 (22.09.2021): 19–35. http://dx.doi.org/10.52412/mf.1996.h1.1014.

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Aus der Themen- und Formbildung innerhalb der Finalsätze geht hervor, daß Schubert den Endpunkt innerhalb des Satzzyklus und damit die zeitliche Abfolge der Einzelsätze insgesamt musikalisch artikuliert. Das Finale bezeichnet einen Zustand der Entspannung. Seine Merkmale sind praktische Lockerung der Form, Öffnung für Episoden und rhythmische Vereinfachung. Es entsteht der Eindruck eines richtungslosen und potentiell unendlichen Verstreichens von Zeit. In ihrem Lauf schickt sich die Musik und verweigert damit den Entwurf einer Utopie.

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Jeremic-Molnar, Dragana. „The listener of the chthonic god sand the barroom player: Adorno’s experience of Schubert“. Filozofija i drustvo 22, Nr. 2 (2011): 173–90. http://dx.doi.org/10.2298/fid1102173j.

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In this article the author is reconstructing the complex picture of Franz Schubert created by Theodor Adorno in his numerous references to the Viennese composer, but mostly in his 1928 article ?Schubert?. In the late 1920s Adorno experienced Schubert as the tragic composer whose music dwells in the realm of chthonic gods, but nevertheless reveals the joy of ?traveling folk, jugglers and tricksters?. It remained, however, unclear how this joy could survive in the hellish landscapes of Schubert?s chthonic music. Later, Adorno recognized Schubert, due to his ?habitus?, as the barroom player as well, never mentioning ?traveling folk, jugglers and tricksters? any more. This two images of Schubert - Schubert as the Listener of the Chthonic Gods and Schubert as the Barroom Player - proved to be an interesting pair, worth of further theoretical elaboration, which Adorno unfortunately never bothered to undertake.

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Sobaskie, James William. „Introduction“. Nineteenth-Century Music Review 5, Nr. 2 (November 2008): 3–5. http://dx.doi.org/10.1017/s1479409800003335.

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The genesis of this special issue of Nineteenth-Century Music Review occurred at the Thirteenth Biennial International Conference on Nineteenth-Century Music in July of 2004, when the journal was inaugurated at Durham University and Bennett Zon invited Susan Youens and me to serve as guest-editors of an issue devoted specifically to Schubert. The impetus behind this instalment of the publication benefits from the remarkable rise of scholarly interest in Franz Schubert that has been under way for nearly two decades now on both sides of the Atlantic. Distinguished by innovative applications of close analysis, historiographic context and aesthetic considerations, this scholarly groundswell has produced an intriguing new image of the composer – indeed, a vibrant view of a Schubert we never really knew.

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Loos, Helmut. „Franz Schubert im Repertoire der deutschen Mannergesangvereine. Ein Beitrag zur Rezeptionsgeschichte“. Archiv für Musikwissenschaft 57, Nr. 2 (2000): 113. http://dx.doi.org/10.2307/931137.

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Weiß, Christof, Frank Zalkow, Vlora Arifi-Müller, Meinard Müller, Hendrik Vincent Koops, Anja Volk und Harald G. Grohganz. „Schubert Winterreise Dataset“. Journal on Computing and Cultural Heritage 14, Nr. 2 (Juni 2021): 1–18. http://dx.doi.org/10.1145/3429743.

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This article presents a multimodal dataset comprising various representations and annotations of Franz Schubert’s song cycle Winterreise . Schubert’s seminal work constitutes an outstanding example of the Romantic song cycle—a central genre within Western classical music. Our dataset unifies several public sources and annotations carefully created by music experts, compiled in a comprehensive and consistent way. The multimodal representations comprise the singer’s lyrics, sheet music in different machine-readable formats, and audio recordings of nine performances, two of which are freely accessible for research purposes. By means of explicit musical measure positions, we establish a temporal alignment between the different representations, thus enabling a detailed comparison across different performances and modalities. Using these alignments, we provide for the different versions various musicological annotations describing tonal and structural characteristics. This metadata comprises chord annotations in different granularities, local and global annotations of musical keys, and segmentations into structural parts. From a technical perspective, the dataset allows for evaluating algorithmic approaches to tasks such as automated music transcription, cross-modal music alignment, or tonal analysis, and for testing these algorithms’ robustness across songs, performances, and modalities. From a musicological perspective, the dataset enables the systematic study of Schubert’s musical language and style in Winterreise and the comparison of annotations regarding different annotators and granularities. Beyond the research domain, the data may serve further purposes such as the didactic preparation of Schubert’s work and its presentation to a wider public by means of an interactive multimedia experience. With this article, we provide a detailed description of the dataset, indicate its potential for computational music analysis by means of several studies, and point out possibilities for future research.

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Burnham, Scott. „The Stillness of Time, the Fullness of Space: Four Settings of Goethe's “Wandrers Nachtlied”“. 19th-Century Music 40, Nr. 3 (2017): 189–200. http://dx.doi.org/10.1525/ncm.2017.40.3.189.

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Carl Zelter, Carl Loewe, Franz Schubert, and Franz Liszt all composed settings of Goethe's famous Nachtlied “Über allen Gipfeln.” Gathering multiple layers of rhyme and rhythm, Goethe's poem achieves a rare cogency that invests every syllable with musical significance. Each of the composed settings reflects this process of gathering in different ways, from Zelter's lulling rhythms and Loewe's processional harmonies to Schubert's landscape of echoes and Liszt's drama of cosmic assimilation. Thus this monad of a poem allows each composer to set afresh the temporal and spatial coordinates of human mortality.

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Hettrick, William E. „Johann Herbeck’s Edition of Choral Works by Franz Schubert: History and Analysis“. Nineteenth-Century Music Review 16, Nr. 3 (05.09.2018): 349–82. http://dx.doi.org/10.1017/s1479409818000010.

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Johann Herbeck (1831–1877) served in his native Vienna as conductor of the leading choral and instrumental organizations. He showed his devotion to the legacy of Franz Schubert in his performances and also in his edition, published by C.A. Spina and successors, of 51 selected works of the master for men’s, women’s and mixed chorus. Originally conceived as part-songs for ensembles of soloists, this repertoire had become choral music by Herbeck’s time. Included also are arrangements by Herbeck and others of pieces originally written for different performing media. Surviving copies of numbers in the edition, as well as two additional publications, reveal startling inconsistencies in editorial technique, ranging from a lack of intervention to a much freer approach, including liberal sprinkling of unauthentic markings and other deviations from the originals. In the latter category, the editor’s additions may be said to document the performance practice of these works during his time. His choice of sources was also inconsistent, in some cases resulting in faulty versions of the works presented. This study also documents the production and reception history of Herbeck’s edition.

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Dolinszky, Miklós. „schöne Müllerin - eine authentische Fälschung?“ Die Musikforschung 52, Nr. 3 (22.09.2021): 322–30. http://dx.doi.org/10.52412/mf.1999.h3.900.

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Franz Schuberts <Die schöne Müllerin> war zunächst in einer postum bei Anton Diabelli gedruckten Fassung bekannt und beliebt, die heute im Allgemeinen als eine Umarbeitung des Schubert'schen Werkes angesehen wird. Trotz der manchmal starken Eingriffe in den Notentext kann anhand einiger Exemplare gezeigt werden, dass die Lieder im Wesentlichen auf Schubert selbst zurückgehen. bms online (Schöner, Oliver)

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Feurzeig, Lisa. „Die Unsinnsgesellschaft: Franz Schubert, Leopold Kupelwieser und ihr Freundeskreis (review)“. Notes 57, Nr. 2 (2000): 391–93. http://dx.doi.org/10.1353/not.2000.0070.

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Sobaskie, James William. „Schubert's Self-Elegies“. Nineteenth-Century Music Review 5, Nr. 2 (November 2008): 71–105. http://dx.doi.org/10.1017/s1479409800003372.

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The later music of Franz Schubert confers a remarkable blend of impact and intimacy. Some masterpieces, such asDie schöne MüllerinandWinterreise, capture striking images of despair and loneliness. Others, such as the String Quartet in A minor, the Piano Trio in E major and the String Quintet in C major, carry stirring impressions of struggle culminated by success. Yet all captivate us with sensitivity and sincerity, the products of considerable self-investment.

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Hilger, Silke, und M. C. Hall. „Wolfgang von Schweinitz's impersonations of composer and poet“. Tempo, Nr. 193 (Juli 1995): 15–17. http://dx.doi.org/10.1017/s0040298200004265.

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Franz & Morton Singing Together in Harmony (With the Lord Himself Enjoying His Bells) is the title of a recent chamber-music work for violin, cello and piano by Wolfgang von Schweinitz. The musically erudite will have no difficulty in identifying the persons referred to by those Christian names. They are, of course, the two composers, Schubert and Feldman – who, with Schweinitz, form a trio which combines more as a community than merely professionally.

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Perry, Jeffrey. „The Wanderer's Many Returns: Schubert's Variations Reconsidered“. Journal of Musicology 19, Nr. 2 (2002): 374–416. http://dx.doi.org/10.1525/jm.2002.19.2.374.

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Franz Schubert composed four instrumental movements that form a distinct repertoire: the "Trout" Quintet D. 667/iv; the Octet D. 803/ iv; Piano Sonata in A minor, D. 845/ii; and the Impromptu in B-flat, D. 935/iii. Each of them comprises a set of variations on a major-key theme. Each includes (not unexpectedly) one variation in the parallel minor and (more remarkably) a variation in VI followed by a retransition leading to a dominant interruption that prepares the final tonickey variation. Examination of these movements reveals the intimate relationship and common derivation of variation set, sonata form, character piece, Lied, and aria in Schubert. Schubert's formal integrations are made in the service of a Romantic sensibility of distance, loss, memory, and regret. He joins musical aspects of distance (from the theme, from a home key, from a home register) to distance in its poetic aspects: from the past, from home, from old loves and places. Schubert not only continues the 18th-century tradition of musical depictions of distance, he transforms and expands them in unprecedented ways. The result is a poignant intersection of formal innovation and musical poetics.

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Mayer, Andreas. „"Gluck'sches Gestohn" und "welsches Larifari" Anna Milder, Franz Schubert und der deutsch-italienische Opernkrieg“. Archiv für Musikwissenschaft 52, Nr. 3 (1995): 171. http://dx.doi.org/10.2307/930894.

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Parsons, James. „Franz Schubert, WinterreiseC Major 738008, 2017 (1 DVD: 85 minutes [concert] + 53 minutes [bonus])“. Nineteenth-Century Music Review 16, Nr. 02 (17.12.2018): 311–13. http://dx.doi.org/10.1017/s1479409818000253.

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Schenker, Heinrich. „Ihr Bild (August 1828): Song by Franz Schubert to a Lyric by Heinrich Heine“. Music Analysis 19, Nr. 1 (März 2000): 3–9. http://dx.doi.org/10.1111/1468-2249.00106.

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Каrachevtseva, Inna. „Stylistic phenomenon of Violin sonatas by Franz Schubert“. Aspects of Historical Musicology 16, Nr. 16 (15.09.2019): 106–25. http://dx.doi.org/10.34064/khnum2-16.06.

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Background. In recent years musicologists revealed an increasing interest in the problem of historical typology of F. Schubert’s composer style. In fact, scholars question possibility to characterize it as romantic, in their turn suggesting another interpretations and characteristics. For instance, M. Brown avoids usage of the term “Romantic” referring to F. Schubert, insisting on him being a part of a Classical tradition. In order to substantiate his viewpoint, the scholar appeals to harmony of the composer, where novelties, according to M. Brown, are not in fact innovations but incredibly skilful incarnation of Classical ideas. More moderate opinion on the discussed problem is stated by Ch. Rosen (2003). While acknowledging “revolutionary” nature of F. Schubert’s harmony, the scholar simultaneously points out a “special status” of the composer in musical art, a status not allowing to apply neither Classical, nor Romantic standards to the works of master. Consequently, as Ch. Rosen says, F. Schubert ended up being “in-between” Classical tradition and Romantic innovations. In his earlier study (1997) abovementioned author uses term “Postclassicism” referring to F. Schubert and other artists of his generation. A collision “F. Schubert – L. van Beethoven” is regarded both by Е.Badura-Skoda (2004) and J. Daverio (2002). The latter one tries to solve it while regarding it through prism of R. Schumann’s observation on this problem. Thus, it is obvious that reception of F. Schubert’s style as typologically ambiguous has a long-lasting history dating back to Romantic era. This intrigue can be found in researches of XX century as well. For example, phenomenon of style of F. Schubert’s chamber works has become a topic of P. Wolfius’ rumination, who defined it as “intermediate” (1974). Mentioned above works of the last third of XX century and beginning of XXI century prove relevance of the problem of historical typology of F. Schubert’s composer style for modern musicology. This calls for its further development through analytical studying of musical material while using historically-typological method of research. In the given aspect, special attention should be drawn to early works by composer, including four Violin sonatas. Objectives. The goal of this paper is to comprehend stylistic phenomenon of these works as a result of mixture of Classical experience gained by F. Schubert and first signs of his oncoming individual view on the essence of music and sound. Methods. In order to achieve this goal, the author of current work uses a periodization of F. Schubert’s chamber legacy, created by H. Gleason and W. Becker (1988) as well as models of “biography scenario”, revealed by N. Savytska (2010). According to the former one, Violin sonatas, written in 1816–1817, don’t belong to the “mature” works; at the same time according to the latter ones, due to F. Schubert’s style evolution being smooth and gradual its starting and finishing points have no radical discrepancies, that would be caused by the change of orientation of composer’s creative method, and as a result, in the early works one can discern some key features of the mature ones. It is relevant, among others, for the sonata genre, where composers first achievements, incidentally, were made in its violin type, preceding highly individual accomplishments of piano sonatas. This situation in the given article is explained as a result of a composer becoming more and more mature as a musician through his life, undoubtedly influenced by special features of this process. Results and discussion. Given that F. Schubert’s Violin sonatas are named differently by performers, publishers and scholars (op. 137 consists of three Sonatas or Sonatinas, op. 162 is also known as “Duo”), it was necessary to conduct a research basing on various sources (Holl, 1973; Vetter, 1953; Deutsch, 1978), in order to ensure righteousness of definition of all the pieces regarded as “sonata”. On the foreground of observation on F. Schubert’s understanding of the cycle it was possible to reveal composer’s loyalty to rules of his time. Sonata ор. 137 № 1 is composed as a classical three-movement model; subsequent ones, including op. 162, embody four-movement model, and that can be a reason to draw parallels between F. Schubert and L. van Beethoven. Individual steps of the journey of author’s self-identification as a composer are traced. Sonata ор. 137 № 1 is marked by frequent employment of variative development in the principal theme of the first movement, that causes its turning into digressive episode; inclusion of contrasting episode in the middle sections of Andante in Sonatas ор. 137 № 2–3 (that is not prescribed by chosen musical form) foreshadows tonal device, favoured by F. Schubert in his mature works – preference to Subdominant sphere over Dominant in four-movement cycle with tonal and dramaturgical highlighting of pair “lyricism – game” in middle movements (slow ones and Minuets); binarity of tonal centres in expositions and even recapitulations of sonata form being substituted by ternarity, that causes a whole section to be a principal unit of structure etc. Sonata op. 162 acquires significance of climax in F. Schubert’s ascent to self-identity in sonata genre. Its expanded structure, including gigantic development of the Finale, Minuet being substituted by Scherzo, parts of performers being completely equal in every respect allow to regard this work as first “Grand Sonata” in F. Schubert’s legacy. Moreover – experience gained by composer while creating it will be applied in cyclic composition for piano in mature period of creativity. Conclusions. In Conclusions analytical observations are summarized and generalized as well as levels of artistic structure of Violin sonatas, incarnating specifics of F. Schubert’s understanding of music as a composer of his historical time, are revealed.

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Jeremic-Molnar, Dragana, und Aleksandar Molnar. „Schubert and Beethoven - Adorno’s early antipods of the music in bougeois epoch“. Filozofija i drustvo 23, Nr. 3 (2012): 221–36. http://dx.doi.org/10.2298/fid1203221j.

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In this article the authors are reconstructing the dichotomies which the young Theodor Adorno was trying to detect in the music of the bourgeois epoch and personify in two antipodes - Franz Schubert and Ludwig van Beethoven. Although already a devotee of Arnold Sch?nberg and the 20th century music avantgardism, Adorno was, in his works prior to his exile from Germany (1934), intensively dealing with Schubert and his opposition towards Beethoven. While Beethoven was a bold and progressive revolutionary, fascinated by the ?practical reason? and the mission to rise up and reach the stars, Schubert wanted none of it (almost anticipating the failure of the whole revolutionary project). Instead, he was looking backwards, to primordial nature and the possibility of man to participate in its mythic cycles of death and regeneration. The lack of synthesis between this two opposing tendencies in the music of early bourgeois epoch lead to the ?negative dialectics? of Sch?nberg and 20th century music avantgardism and to the final separation of Beethovenian musical progress and Schubertian musical mimesis.

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Parsons, James. „Review: Franz Schubert: Sexuality, Subjectivity, Song, by Lawrence Kramer. Cambridge Studies in Music Theory and Analysis 13; Schubert Studies, edited by Brian Newbould“. Journal of the American Musicological Society 54, Nr. 3 (2001): 651–61. http://dx.doi.org/10.1525/jams.2001.54.3.651.

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Jeremić-Molnar, Dragana. „Wandering Motive and Its Appeal on Reluctantly Wandering Franz Schubert“. Issues in Ethnology and Anthropology 8, Nr. 1 (27.02.2016): 277. http://dx.doi.org/10.21301/eap.v8i1.13.

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Franz Schubert was not generous in commenting his own creative procedures, or in revealing his artistic inspirations. Therefore, it is even today not clear why Wilhelm Müller’s collection of poems entitled Winter journey attracted Schubert so strongly that he was so determined to set it as a whole to the music. In this article the author mentions, and rejects as well, couple of commonly accepted interpretations. The path to the lieder cycle Winter journey was paved neither by Schubert’s identification with the main character – outcast overwhelmed by desperation and anticipation of the approaching death – and his strange ways of experiencing the world; neither by composer’s acceptance of impious beliefs hidden in Müller’s poems. The author argues that both poet and composer of Winter journey shared the affinity for the wandering (and wanderer) motive which was one of the central topics in the rising romantic Weltanschauung. Schubert was dealing with this motive from 1815 until his death mainly in his lieder, sometimes in very complex manner. In order to understand the real nature of Schubert’s artistic rapprochement to the motive of wandering, the author was obliged to consider and, at the first place, evaluate the works of scholars (such as Theodor Adorno, David Gramit, and Jeffrey Perry) who have been dealing with this problem. After that the author focuses her attention to the narrative entitled My dream, the most extensive and enigmatic writing left behind Schubert; she analyses the role of wandering in it, arguing that Schubert was participating in the spiritual currents of his time even unconsciously and trying to adapt them in order to serve as the solutions to his own existent ional dilemmas. Finally, she concludes that the composer was very sensitive for the complexity of the phenomena of wandering, when romantic Weltanschauung was at its peak, and eager to come to terms with this complexity artistically, paying the most attention to one of its layers – the regenerative one.

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van der Lek, Robbert, und Ekkehard Mann. „Zur Tonartendisposition in den ersten Satzen der 2., 3. und 4. Symphonie von Franz Schubert“. Archiv für Musikwissenschaft 54, Nr. 4 (1997): 284. http://dx.doi.org/10.2307/930985.

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Lindmayr-Brandl, Andrea. „Die "wiederentdeckte" unvollendete "Sonate in E" D 459 und die "Funf Klavierstucke" von Franz Schubert“. Archiv für Musikwissenschaft 57, Nr. 2 (2000): 130. http://dx.doi.org/10.2307/931138.

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Feurzeig, Lisa. „Franz Schubert, Lieder, vol. 1, edited by Walther Dürr (Kassel: Bärenreiter, 2005). lxv + 217 pp. £25“. Nineteenth-Century Music Review 4, Nr. 1 (Juni 2007): 179–82. http://dx.doi.org/10.1017/s1479409800000264.

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Tudor, Brînduşa. „Number 13 / Part I. Music. 11. Great Contemporary Pianists in Interpretative Dialogue: Alfred Brendel and Murray Perahia“. Review of Artistic Education 13, Nr. 1 (01.03.2017): 93–98. http://dx.doi.org/10.1515/rae-2017-0011.

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Abstract The choice of valuable interpretative versions is highly important for both pianists on their way to performance and teachers in their complex activity of piano training. These become real models of esthetical thinking and artistic inspiration in the approach of a musical work. We shall use Sonata in D minor D 958 by Franz Schubert as an interpretative analysis model in the view of the pianists Alfred Brendel and Murray Perahia.

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Lott, Marie Sumner. „Drama in the Music of Franz Schubert ed. by Joe Davies and James William Sobaskie“. Notes 78, Nr. 1 (2021): 75–78. http://dx.doi.org/10.1353/not.2021.0066.

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Hirsch, L. E. „The Berlin Judischer Kulturbund and the "After-Life" of Franz Schubert: Musical Appropriation and Identity Politics in Nazi Germany“. Musical Quarterly 90, Nr. 3-4 (23.09.2008): 469–507. http://dx.doi.org/10.1093/musqtl/gdn021.

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Hutchinson, William, und Leon Knopoff. „The Clustering of Temporal Elements in Melody“. Music Perception 4, Nr. 3 (1987): 281–303. http://dx.doi.org/10.2307/40285371.

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Drawing upon analogies with pitch and dynamics, we hypothesize that there exists a durational alphabet in music out of which rhythmic and larger temporal events are built. The alphabet consists of the clustering of note durations into one of three elemental units: R(epetition), L(engthening), and S(hortening). Examples supporting this model are drawn from melodic lines by Bach, Mozart, Schubert, and Shostakovich. The study of the compositional use of R, S, and L, particularly in chains of two and three, is shown to be an effective tool for stylistic description and discrimination. Moreover, consistent and dramatic differences in the frequency of use of specific sequences of R, S, and L and chains of these symbols suggest normative, syntactical structures found in the standard Western repertoire.

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Gramit, David. „Orientalism and the Lied: Schubert's "Du liebst mich nicht"“. 19th-Century Music 27, Nr. 2 (2003): 97–115. http://dx.doi.org/10.1525/ncm.2003.27.2.97.

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Franz Schubert's "Du liebst mich nicht" (D. 756) has often been discussed as an extreme example of chromatic harmony, but one important possible motivator of the song's extravagance--its representation of one of the most exotic of the Orientalizing texts that Schubert set--has largely been overlooked. By considering the song and its interpretation by several recent critics, this essay suggests that the exotic is here represented not by overtly Orientalistic stylistic features, but rather by a pervasive ambiguity, which parallels the features ascribed to the Oriental in a variety of contemporary sources, including a review by Schubert's acquaintance Matthaus von Collin. Unlike such public evaluative texts, however, Schubert's song directly evokes the patterns of emotion and experience associated with the Orient rather than describing and critiquing from a critical distance. A brief consideration of the other songs of op. 59, "Dass sie hier gewesen" (D. 775), "Du bist die Ruh" (D. 776), and "Lachen und Weinen" (D. 777), reveals that "Du liebst mich nicht" opens the collection with an extreme representation of otherness from which the remaining songs gradually retreat.

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Vondráček, David. „Dohnányi und die Tradition Das Klavierquintett Nr. 2 es-Moll, op. 26 (1914)“. Studia Musicologica 59, Nr. 3-4 (Dezember 2018): 301–8. http://dx.doi.org/10.1556/6.2018.59.3-4.3.

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Abstract Dohnányi's Second Piano Quintet in E-flat minor was written in 1914 and is less well-known than his first one dating from 1895. The composer has been called a traditionalist, so it is worth examining how tradition appears in this work. The outer movements of the three-movement-form are both elegiac and weighty. The beginning bears the key signature of E-flat major instead of minor, but the keys are changing rapidly as the piece progresses. This is reminiscent of Franz Schubert or of Antonín Dvořák, for instance in his Piano Quartet (op. 87) inspired by Brahms. The third movement's opening is a homage to Beethoven's late String Quartet in A Minor (op. 132). While the latter works on a sub-thematic level, Dohnányi presents an elaborated theme in fugal technique, which in 1914 was a more conservative approach than Beethoven's in 1825. For Dohnányi, the symmetric structures are not a way out of traditional tonality (unlike for Bartók, who also frequently used symmetries), but rather are a way of extending it. The formal concept is no less interesting. The recapitulation of the first movement's material within the third is evocative of the double-function form used by Franz Liszt. While Liszt conflated the traditional multi-movement form into a new one-movement form, Dohnányi – so to speak – concealed the characteristics of the new one-movement form inside a traditional three-movement form. Thus, one could ask if the accusations against Dohnányi for being a traditionalist are justified. Perhaps instead we should reconsider how traditionalism and modernity are situated in our own set of aesthetic values.

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Storch, Christian. „Musik und Theater in der Badekultur um 1800“. Die Musikforschung 67, Nr. 2 (22.09.2021): 154–74. http://dx.doi.org/10.52412/mf.2014.h2.73.

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Zwar haben Besuche von "großen" Künstlern wie Ludwig van Beethoven in Teplice, Franz Schubert in Bad Gastein oder Johannes Brahms und Anton Bruckner in Bad Ischl bereits die Aufmerksamkeit punktuell auf Badeorte gelenkt. Die vermeintliche geografisch wie kulturell periphere Lage gerade kleinerer Badeorte und deren kaum dokumentierte und aufgearbeitete Musik- und Theatergeschichte haben jedoch dazu beigetragen, eine Beachtung, Rekonstruktion, Analyse und Einordnung in die allgemeine Musikgeschichte zu unterlassen. Am Beispiel des Comödienhauses (heute Kurtheater) im Kurort Bad Liebenstein im ehemaligen Herzogtum Sachsen-Meiningen wird dieser Forschungslücke begegnet, es werden außerdem weitere Anreize geliefert, sich Badeorten als musikhistorischem Sujet intensiver zu widmen. Dabei stehen folgende Fragestellungen im Vordergrund: 1. Für welche musikalischen und theatralischen Aktivitäten wurde das Gebäude genutzt und welchen kulturellen Stellenwert nahm es innerhalb des Kurbetriebes ein, vor allem in Bezug auf die Publikumsstruktur? 2. Wie gestaltete sich das Repertoire in der ersten Saison und welche Vergleichsmomente zu den kulturellen Zentren der Zeit lassen sich hieraus ablesen? 3. Kann man aus dem Repertoire ein bäderspezifisches Theater- und Musikleben deduzieren? 4. Welche Rolle spielte, stellvertretend für zahlreiche Kurtheater deutschlandweit, das Comödienhaus in Liebenstein für die Rezeptionsgeschichte von Oper und Schauspiel im ländlichen Raum um 1800?

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Conway, Paul. „London, Barbican: Dieter Schnebel, David Sawer“. Tempo 67, Nr. 265 (Juli 2013): 83–85. http://dx.doi.org/10.1017/s0040298213000569.

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In a substantial concert at the Barbican Centre on 15 February 2013 the BBC Symphony Orchestra, conducted by Ilan Volkov, presented the British debut of Schubert Fantasia (1978, revised 1989) – senior German composer Dieter Schnebel's subtle reconstruction of one of Schubert's most original piano sonata movements – and the first performance of David Sawer's dramatic scena for mezzo-soprano and baritone soloists and orchestra, Flesh and Blood (2012). Both premières lasted around 25 minutes. Sawer's new work made a satisfying contrast with its Schubertian surroundings. But an even more rewarding, and certainly more congruent, companion to the Schnebel might have been Luciano Berio's Rendering for Orchestra (1990), which reworks the fragments of Schubert's unfinished Tenth Symphony in D major, D936a into a three-movement symphonic work that would have complemented Schnebel's postmodern re-imaginings. It would also have made some fascinating associations with the Viennese master's last completed work in symphonic form: the ‘Great’ C major Symphony, which was heard after the interval. Enough speculating on what might have been; what of the fare that was actually on offer?

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Tsebriy, I. „ANTONIO SALIERI PEDAGOGICAL SCHOOL“. Aesthetics and Ethics of Pedagogical Action, Nr. 23 (04.08.2021): 110–17. http://dx.doi.org/10.33989/2226-4051.2021.23.238261.

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The article deals with the pedagogical school of Antonio Salieri, which was formed in the last quarter of the eighteenth – first quarter of the nineteenth centuries. This school was an artistic phenomenon, given that A. Salieri taught not only one instrument, but a whole set of musical disciplines (composition, counterpoint, conducting, solo and choral singing, harpsichord, stringed instruments, etc.). A. Salieri's School is also unique because of the highest professional level preparation of a whole plaid of talented and even brilliant musicians - Ludwig Beethoven, Franz Schubert, Johann Nepomuk Gummel Franz Xaver Süsmayr, Anselm Hüttenbrüsner, Ignaz Carlethal Moscheles. Cavalieri, Anna Milder-Hauntmann, Anna Kraus-Vranitsky, etc. Based on sources and scientific works, the author of the article argues that the contribution of A. Salieri to the music pedagogy of the eighteenth and nineteenth centuries is invaluable. Antonio Salieri's pedagogical legacy is a unique phenomenon – he taught composition, instrumentation, instrument, vocals, counterpoint, homophony, polyphony, and most importantly - musical thinking. Many ingenious composers have left a unique legacy, but not many of them can boast of such a large number of students who have shown themselves in all spheres of musical life in the European world. We will not be mistaken when we say that Antonio Salіeri was unique in this. It is unlikely that the pedagogical legacy of another great musician will include pedagogue and methodologist Johann Nepomuk Hummel, the genius composer of all ages L. Beethoven, one of the first romantics – F. Schubert, vocalists - "opera stars'' Catherine Valba-Kanz, Fortunate Franquette, Amalia Josef-Mozatta. And this list can go on and on because the total number is over sixty.

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Ursachi, Doina Dimitriu. „9. The Romantic German Lied – An Overview“. Review of Artistic Education 21, Nr. 1 (01.06.2021): 71–77. http://dx.doi.org/10.2478/rae-2021-0009.

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Abstract The lied represents a fundamental form of expression of the cantability and of the relation of the melody with the poetic. And, although the model of the cultural lied could still be heard in the music of the 18th century in the compositions of the Viennese classical school - in Haydn folk songs and, especially, in forms somewhat akin to the aria of Mozart or Beethoven – the landmarks of this genre were established precisely by the romantics of the 19th century, representatives in most of the German school. Schubert, Schumann, Franz, Mendelssohn-Bartholdy, Wagner, Brahms, Wolf etc. transformed the song into a cultural art form, incorporating images of popular origin into literary-musical structures for voice and piano making use of technical possibilities and expressiveness specific to romanticism.

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JONES, IVOR H. „Franz Schubert. Music and belief. By Leo Black. Pp. xvi+209+errata. Woodbridge: Boydell Press, 2003. £45. 1 84383 023 X“. Journal of Ecclesiastical History 56, Nr. 2 (April 2005): 401–2. http://dx.doi.org/10.1017/s0022046905893285.

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Perry, Frankie. „Franz Schubert, Nacht & Träume: Lieder with Orchestra - Wiebke Lehmkuhl mezzo, Stanislas de Barbeyrac tenAccentus and the Insula Orchestra, Laurence Equilbey cond Erato 9029576943, 2017 (1 CD: 50 minutes)“. Nineteenth-Century Music Review 17, Nr. 2 (19.02.2019): 293–96. http://dx.doi.org/10.1017/s1479409818000599.

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Pilipenko, Nina V. „Franz Schubert and French Opera: Concerning the Problem of “The Native and the Foreign” in the Austrian Musical Theater of the First Third of the 19th Century“. Music Scholarship / Problemy Muzykal'noj Nauki, Nr. 4 (Dezember 2017): 115–21. http://dx.doi.org/10.17674/1997-0854.2017.4.115-121.

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