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Journal articles on the topic 'Schubert, Franz, Guitar music Music'

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Published: 4 June 2021

Last updated: 1 February 2022

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1

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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2

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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3

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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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, no. 2 (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, no. 3 (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, 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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7

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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8

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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9

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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10

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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11

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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12

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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13

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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14

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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15

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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16

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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17

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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18

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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19

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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20

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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21

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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22

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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23

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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24

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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25

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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26

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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27

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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28

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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29

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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30

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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31

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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32

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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33

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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34

Feurzeig, Lisa. "Franz Schubert, Lieder, vol. 1, edited by Walther Dürr (Kassel: Bärenreiter, 2005). lxv + 217 pp. £25." Nineteenth-Century Music Review 4, no. 1 (2007): 179–82. http://dx.doi.org/10.1017/s1479409800000264.

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35

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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36

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, no. 3-4 (2008): 469–507. http://dx.doi.org/10.1093/musqtl/gdn021.

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37

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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38

Lott, Marie Sumner. "Drama in the Music of Franz Schubert ed. by Joe Davies and James William Sobaskie." Notes 78, no. 1 (2021): 75–78. http://dx.doi.org/10.1353/not.2021.0066.

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39

Gramit, David. "Orientalism and the Lied: Schubert's "Du liebst mich nicht"." 19th-Century Music 27, no. 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 contemporar

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40

Vondráček, David. "Dohnányi und die Tradition Das Klavierquintett Nr. 2 es-Moll, op. 26 (1914)." Studia Musicologica 59, no. 3-4 (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 ope

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41

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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42

Storch, Christian. "Musik und Theater in der Badekultur um 1800." Die Musikforschung 67, no. 2 (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 eh

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43

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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44

Kosovsky, Robert, and Arnold Schoenberg. "Denza: Funiculi-Funicula; Schubert: Standchen; Sioly: Weil i a alter Drahrer bin, for Violin, Mandolin, Clarinet, Bassoon, Viola, Guitar, Cello." Notes 46, no. 3 (1990): 817. http://dx.doi.org/10.2307/941457.

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45

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, no. 2 (2019): 293–96. http://dx.doi.org/10.1017/s1479409818000599.

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46

KREGOR, JONATHAN. "Collaboration and Content in the Symphonie fantastique Transcription." Journal of Musicology 24, no. 2 (2007): 195–236. http://dx.doi.org/10.1525/jm.2007.24.2.195.

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Franz Liszt's transcription of Hector Berlioz's Symphonie fantastique has long been recognized for its innovative approach to musical reproduction——that is, its remarkable ability to recreate the sonic nuances of its model. However, the 1830s were a period of intense artistic and professional collaboration with Berlioz, and the genesis of the Symphonie fantastique transcription can thus also be interpreted as emblematic of this developing relationship. In particular, a gestural analysis of the work's content, as it can be recreated in part through Liszt's meticulous performance notation, indic

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47

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, no. 4 (December 2017): 115–21. http://dx.doi.org/10.17674/1997-0854.2017.4.115-121.

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48

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, no. 2 (2005): 401–2. http://dx.doi.org/10.1017/s0022046905893285.

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49

Ursachi, Doina Dimitriu. "9. The Romantic German Lied – An Overview." Review of Artistic Education 21, no. 1 (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. tr

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50

Tunbridge, Laura. "Franz Schubert, Winterreise - Johan Reuter bass-bar - Copenhagen String Quartet: Eugene Tichindeleanu vln, John Bak Dinitzen vln, Bernd Rinne vla, Richard Krug vc - Transcription for string quartet by Richard Krug - Danacord 759, 2016 (1 CD: 76 minutes)." Nineteenth-Century Music Review 17, no. 1 (2018): 145–47. http://dx.doi.org/10.1017/s1479409818000368.

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