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Journal articles on the topic 'Instrumental music (Schubert, Franz)'

Author: Grafiati

Published: 25 July 2024

Last updated: 31 July 2025

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1

Perry, Jeffrey. "The Wanderer's Many Returns: Schubert's Variations Reconsidered." Journal of Musicology 19, no. 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,

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2

Hettrick, William E. "Johann Herbeck’s Edition of Choral Works by Franz Schubert: History and Analysis." Nineteenth-Century Music Review 16, no. 3 (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

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3

Sobaskie, James William. "The ‘Problem’ of Schubert's String Quintet." Nineteenth-Century Music Review 2, no. 1 (2005): 57–92. http://dx.doi.org/10.1017/s1479409800001567.

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Eschewing the polemic surrounding Franz Schubert's private life, as well as the habit of judging his art by Beethovenian criteria, many musicians now have chosen to focus on unique aspects of the composer's œuvre in order to illuminate its distinctive aesthetic values. In particular, some have sought to isolate and explain contextual processes responsible for compelling perceptions of drama and unity in Schubert's later instrumental works. The objects of their inquiries consist of progressive sequences of internally defined musical elements, relations and events that confer effects of internal

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4

Dyatlov, D. A. "F. SCHUBERT'S LAST PIANO SONATA: THE IMAGE OF A BORDERLINE EXISTENCE." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 26, no. 97 (2024): 51–58. http://dx.doi.org/10.37313/2413-9645-2024-26-97-51-58.

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The article is dedicated to the last piano sonata by Franz Schubert. The Sonata B-flat major is written in the composer’s last year of life. The first great compositor of the era of musical romanticism inherited from the Viennese classics sonata form, principles of musical drama, characteristic features of the polyphonic tissue organization. At the same time, in the sonata he introduces elements of variation development that extensively expand the sonata’s allegro. The song and dance genres characteristic of Schubert’s instrumental music play an important role in the Sonata B-flat major. Multi

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5

Lee, M. Owen. "Fierrabras. Franz Schubert." Opera Quarterly 8, no. 2 (1991): 179–81. http://dx.doi.org/10.1093/oq/8.2.179.

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6

Jellinek, George. "Fierrabras. Franz Schubert." Opera Quarterly 8, no. 4 (1991): 137–38. http://dx.doi.org/10.1093/oq/8.4.137.

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7

Rast, N. "Franz Schubert: Music and Belief." Music and Letters 87, no. 3 (2006): 439–41. http://dx.doi.org/10.1093/ml/gci241.

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8

Solomon, Maynard. "Schubert: Family Matters." 19th-Century Music 28, no. 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

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9

Kramer, Richard. "Posthumous Schubert: Drei grosse Sonaten fur das Pianoforte . Franz Schubert. ; Der Graf von Gleichen . Franz Schubert, Ernst Hilmar." 19th-Century Music 14, no. 2 (1990): 197–216. http://dx.doi.org/10.1525/ncm.1990.14.2.02a00060.

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10

Rastl, Peter. "Schubert-Liedertexte." Die Musikforschung 71, no. 2 (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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11

Rast, N. "Franz Schubert: Das fragmentarische Werk." Music and Letters 87, no. 3 (2006): 437–39. http://dx.doi.org/10.1093/ml/gci239.

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12

Gramit, David, Elizabeth Norman McKay, and Brian Newbould. "Franz Schubert: A Biography." Notes 55, no. 1 (1998): 105. http://dx.doi.org/10.2307/900364.

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13

Hatch, Christopher, Ernst Hilmar, and Reinhard G. Pauly. "Franz Schubert in His Time." Notes 47, no. 3 (1991): 751. http://dx.doi.org/10.2307/941876.

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14

Branscombe, Peter, Peter Gulke, Walther Durr, Werner Aderhold, Walburga Litschauer, and Till Gerrit Waidelich. "Franz Schubert und seine Zeit." Notes 51, no. 3 (1995): 930. http://dx.doi.org/10.2307/899306.

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15

Lambert, Sterling. "Franz Schubert and the Sea of Eternity." Journal of Musicology 21, no. 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. Schube

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16

Waldura, Markus. "Franz Schuberts "Wandererfantasie"." Die Musikforschung 74, no. 3 (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

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17

Jeremic-Molnar, Dragana. "The listener of the chthonic god sand the barroom player: Adorno’s experience of Schubert." Filozofija i drustvo 22, no. 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 we

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18

Muxfeldt, Kristina. "Schubert, Platen, and the Myth of Narcissus." Journal of the American Musicological Society 49, no. 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

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19

Solomon, Maynard. "Franz Schubert and the Peacocks of Benvenuto Cellini." 19th-Century Music 12, no. 3 (1989): 193–206. http://dx.doi.org/10.2307/746501.

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20

Tellenbach, Marie-Elisabeth. "Franz Schubert and Benvenuto Cellini: One Man's Meat." Musical Times 141, no. 1870 (2000): 50. http://dx.doi.org/10.2307/1004370.

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21

Weßel, Matthias. "Zyklusgestaltung in Franz Schuberts Instrumentalwerk." Die Musikforschung 49, no. 1 (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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22

Abdug'aniyeva, Farangizbanu Boltaboyeva Umidakhon. "A LOOK AT THE WORK OF COMPOSER FRANZ SCHUBERT." MODELS AND METHODS IN MODERN SCIENCE 1, no. 15 (2022): 68–73. https://doi.org/10.5281/zenodo.7215381.

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23

Sobaskie, James William. "Introduction." Nineteenth-Century Music Review 5, no. 2 (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 c

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24

Weiß, Christof, Frank Zalkow, Vlora Arifi-Müller, et al. "Schubert Winterreise Dataset." Journal on Computing and Cultural Heritage 14, no. 2 (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 acces

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25

Burnham, Scott. "The Stillness of Time, the Fullness of Space: Four Settings of Goethe's “Wandrers Nachtlied”." 19th-Century Music 40, no. 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 huma

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26

Tenczyńska, Anna. "Translating Emotions in the Modern „Waste Land”: Winterreise at the Turn of the 20th and 21st Centuries." Roczniki Humanistyczne 72, no. 12 (2024): 191–205. https://doi.org/10.18290/rh247212.12.

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The subject of this paper is the process of translating emotions in Podróż zimowa (1994), a cycle of 24 poems by the poet and translator, Stanisław Barańczak. The Polish author wrote them to the music of Franz Schubert, who had previously composed this music to the work of another poet, Wilhelm Müller. In each of these three artefacts – by Müller, Müller-Schubert, Müller-Schubert-Barańczak – a different emotional landscape is created. The comparative analysis of selected aspects of each of them, proposed in the article, is providing the opportunity to examine the exceptionally complex process

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27

Dolinszky, Miklós. "schöne Müllerin - eine authentische Fälschung?" Die Musikforschung 52, no. 3 (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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28

Jeremic-Molnar, Dragana, and Aleksandar Molnar. "Schubert and Beethoven - Adorno’s early antipods of the music in bougeois epoch." Filozofija i drustvo 23, no. 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, Schuber

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29

Pantović, Sanja R., and Mirko R. Jeremić. "ANALIZA SOLO PESME NA STIHOVE JOHANA VOLFGANGA GETEA U ODABRANIM DELIMA VOLFGANGA AMADEUSA MOCARTA, LUDVIGA VAN BETOVENA I FRANCA ŠUBERTA." Lipar XXII, no. 76 (2021): 149–64. http://dx.doi.org/10.46793/lipar76.149p.

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The history of music points to the fact that vocal music from the fif- teenth to the nineteenth centuries was concentrated on expression of emotions of composers. At the beginning of the nineteenth century, in 1814, Austrian composer Franz Schubert, with his song Gretchen am Spinnrade marked the beginning of the genre of song in Romanticism – Lied, which shows the link between the character of poetry and the character of music. By analysing the structure of selected songs W. А. Моzart – Das Veilchen, L. V. Beethoven – Freudevoll und leidvoll and Franz Sshubert – Gretchen am Spinnrade and Erlkö

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30

Loos, Helmut. "Franz Schubert im Repertoire der deutschen Mannergesangvereine. Ein Beitrag zur Rezeptionsgeschichte." Archiv für Musikwissenschaft 57, no. 2 (2000): 113. http://dx.doi.org/10.2307/931137.

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31

Sobaskie, James William. "Schubert's Self-Elegies." Nineteenth-Century Music Review 5, no. 2 (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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32

Hilger, Silke, and M. C. Hall. "Wolfgang von Schweinitz's impersonations of composer and poet." Tempo, no. 193 (July 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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33

Jeremić-Molnar, Dragana. "Wandering Motive and Its Appeal on Reluctantly Wandering Franz Schubert." Issues in Ethnology and Anthropology 8, no. 1 (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 approach

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34

Feurzeig, Lisa. "Die Unsinnsgesellschaft: Franz Schubert, Leopold Kupelwieser und ihr Freundeskreis (review)." Notes 57, no. 2 (2000): 391–93. http://dx.doi.org/10.1353/not.2000.0070.

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35

MAK, SU YIN. "SCHUBERT AS SCHILLER’S SENTIMENTAL POET." Eighteenth Century Music 4, no. 2 (2007): 251–63. http://dx.doi.org/10.1017/s1478570607000930.

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ABSTRACTSchubert’s lifelong interest in literature, his close friendships with poets and his preference for lyric poetry in his prolific song settings suggest that his compositional language may be shaped as much by a literary imagination as by musical concerns. This article argues for a close correspondence between Schubert’s late instrumental style and Friedrich Schiller’s conception of the elegiac. In ‘On Naïve and Sentimental Poetry’ Schiller describes the sentimental poet as having to contend with two conflicting objects, the ideal and actuality, and to represent their opposition either s

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36

MAK, SU YIN. "Schubert's Sonata Forms and the Poetics of the Lyric." Journal of Musicology 23, no. 2 (2006): 263–306. http://dx.doi.org/10.1525/jm.2006.23.2.263.

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ABSTRACT Although recent scholarship has witnessed a welcome disavowal of the view that Schubert's formal and tonal designs in sonata form compositions bespeak the song composer's inability to master large-scale instrumental genres, it remains a commonplace to characterize Schubert's unorthodox practice as ““lyrical.”” Yet the historical, theoretical, and aesthetic bases of this lyricism have received little critical attention. A systematic and historically grounded approach to the notion of lyrical form in Schubert may be established by appealing to the rhetorical distinction between hypotaxi

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37

Каrachevtseva, Inna. "Stylistic phenomenon of Violin sonatas by Franz Schubert." Aspects of Historical Musicology 16, no. 16 (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 sk

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38

DRABKIN, WILLIAM. "SCHUBERT, SCHENKER AND THE ART OF SETTING GERMAN POETRY." Eighteenth Century Music 5, no. 2 (2008): 209–36. http://dx.doi.org/10.1017/s1478570608001498.

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Nearly half a century after gaining a solid footing in the academic world, the achievements of Heinrich Schenker remain associated more with tonal structure and coherence than with musical expression. The focus of his published work, exemplified largely by instrumental music from the eighteenth and early nineteenth centuries, supports this view. There are just five short writings about music for voices: two essays on Bach’s St Matthew Passion, one on the opening number from Haydn’s Creation, and two on Schubert songs. To be sure, romantic lieder appear as music examples for the larger theory b

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39

Mayer, Andreas. ""Gluck'sches Gestohn" und "welsches Larifari" Anna Milder, Franz Schubert und der deutsch-italienische Opernkrieg." Archiv für Musikwissenschaft 52, no. 3 (1995): 171. http://dx.doi.org/10.2307/930894.

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40

Schenker, Heinrich. "Ihr Bild (August 1828): Song by Franz Schubert to a Lyric by Heinrich Heine." Music Analysis 19, no. 1 (2000): 3–9. http://dx.doi.org/10.1111/1468-2249.00106.

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41

Parsons, James. "Franz Schubert, WinterreiseC Major 738008, 2017 (1 DVD: 85 minutes [concert] + 53 minutes [bonus])." Nineteenth-Century Music Review 16, no. 02 (2018): 311–13. http://dx.doi.org/10.1017/s1479409818000253.

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42

Gingerich, John. "Unfinished Considerations: Schubert's "Unfinished" Symphony in the Context of His Beethoven Project." 19th-Century Music 31, no. 2 (2007): 099–112. http://dx.doi.org/10.1525/ncm.2007.31.2.099.

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Schubert finished only the first two movements of his B-Minor Symphony (D. 759), and they remained unseen and unheard for the last six years of his life, indeed until 1865. The best available evidence indicates that he sent his only score to the Music Society in Graz sometime after September 1823, and that from that point on, at the latest, he had given up any plans to complete the two remaining movements. But why? At least part of the answer is to be found in several consistent patterns Schubert followed in the conduct of his career. He did not return to unfinished works after he had laid the

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43

Tudor, Brînduşa. "Number 13 / Part I. Music. 11. Great Contemporary Pianists in Interpretative Dialogue: Alfred Brendel and Murray Perahia." Review of Artistic Education 13, no. 1 (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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44

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, no. 3 (2001): 651–61. http://dx.doi.org/10.1525/jams.2001.54.3.651.

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45

van der Lek, Robbert, and Ekkehard Mann. "Zur Tonartendisposition in den ersten Satzen der 2., 3. und 4. Symphonie von Franz Schubert." Archiv für Musikwissenschaft 54, no. 4 (1997): 284. http://dx.doi.org/10.2307/930985.

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46

Lindmayr-Brandl, Andrea. "Die "wiederentdeckte" unvollendete "Sonate in E" D 459 und die "Funf Klavierstucke" von Franz Schubert." Archiv für Musikwissenschaft 57, no. 2 (2000): 130. http://dx.doi.org/10.2307/931138.

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47

Acatrini, Vladimir, Myroslava Vovk, and Nataliia Filipchuk. "10. The Influence of Eusebie Mandicevschi on the Formation of the Personality of the Composer Marţian Negrea." Review of Artistic Education 25, no. 1 (2023): 57–65. http://dx.doi.org/10.2478/rae-2023-0010.

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Abstract The composer, choir conductor and musicologist, raised from the lands of Bucovina. Eusebie Mandicevschi (1857 - 1829) left posterity a complex musical work: vocal, symphonic, chamber, choral music, prestigious critical studies on Johann Sebastian Bach, Ludwig van Beethoven, Joseph Haydn, Franz Schubert, Johannes Brahms, distinguishing himself, throughout his life, through a sustained and competent pedagogical activity, through a prodigious social activity he was a teacher at the “Akademie für Musik und darstellende Kunst” in Vienna, as an archivist and librarian at the “Gesellschaft d

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Hatten, Robert S. "A Surfeit of Musics: What Goethe's Lyrics Concede When Set to Schubert's Music." Nineteenth-Century Music Review 5, no. 2 (2008): 7–18. http://dx.doi.org/10.1017/s1479409800003347.

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Of the many possible relationships between music and poetry, which are but a small subset of the possible relationships between music and text, I have chosen a still narrower focus for inquiry. I will investigate two independent, lyric poems whose musically poetic language and form was fully conceived without any expectation that a composer might use their texts as structural scaffolding and expressive inspiration for related, and emergent, musical and artistic ends. Two lyric poems by Goethe, each set by Schubert, will serve to illustrate the conflict between poetic and instrumental/vocal mus

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Xu, Jiaqi. "The Study of Schubert's Piano Pieces Characteristic." Highlights in Art and Design 9, no. 2 (2025): 56–59. https://doi.org/10.54097/6y3s9274.

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Franz Schubert bequeathed a significant musical legacy during his brief life. Among his diverse body of work, piano compositions hold a prominent place within his oeuvre. This paper primarily examines Schubert's piano pieces, specifically "Moments Musicaux" (D.780, Op. 94), "Impromptus" (D.899, Op. 90), "Impromptus" (D.935, Op. 142), and the three piano pieces (D.946). By analyzing the contextual background of these compositions alongside the musical scores, this study conducts a comparative analysis of these works, highlighting the composer's distinctive musical traits and exploring their imp

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Smith, Peter H. "Tonal Pairing and Monotonality in Instrumental Forms of Beethoven, Schubert, Schumann, and Brahms." Music Theory Spectrum 35, no. 1 (2013): 77–102. http://dx.doi.org/10.1525/mts.2013.35.1.77.

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