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Journal articles on the topic 'Schubert, Franz'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

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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2

Wyciślik, Karolina. ">>Cudownie nieartykułowana mowa dźwięków<<. Muzyczno-literacki motyw lipy w pieśni piątej z „Winterreise” Franza Schuberta i „Der Lindenbaum” Wilhelma Müllera w przekładzie Stanisława Barańczaka." Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica 8 (December 23, 2020): 272–85. http://dx.doi.org/10.24917/23534583.8.17.

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W 1827 roku Franz Schubert wydał cykl pieśni Winterreise. Z kolei 167 lat później Stanisław Barańczak opublikował tom Podróż zimowa. Wiersze do muzyki Franza Schuberta. Romantyczna pieśń zapoczątkowana przez austriackiego kompozytora dała nową sposobność do przekazania ekspresji poprzez słowo śpiewane i towarzyszącą muzykę. Artykuł na podstawie Pieśni V, zatytułowanej Der Lindenbaum (Lipa), przedstawia korelacje zachodzące na płaszczyźnie między Schubertem, Wilhelmem Müllerem a Barańczakiem. Jest to jedyny wiersz w cyklu, który Barańczak przełożył z języka niemieckiego. Powstające we wspólnym

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3

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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4

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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5

Lazzarotti, Olivier. "Franz Schubert était-il viennois? // Was Franz Schubert a Viennese ?" Annales de Géographie 113, no. 638 (2004): 425–44. http://dx.doi.org/10.3406/geo.2004.21632.

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6

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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7

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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8

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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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

GRAEME, R. "Two by Franz Schubert." Opera Quarterly 16, no. 1 (2000): 127–29. http://dx.doi.org/10.1093/oq/16.1.127.

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11

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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12

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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13

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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14

Maier, Franz Michael. "Two Versions of : What Franz Schubert Tells Us about a Favourite Song of Beckett." Samuel Beckett Today / Aujourd'hui 18, no. 1 (2007): 91–100. http://dx.doi.org/10.1163/18757405-018001007.

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The printed version of Franz Schubert's song shows two main improvements over the draft. The aesthetic principles that become visible in a comparison of the two versions of the song surprisingly are not at all unfamiliar to Beckett scholars. Hence, the link between Beckett and Schubert can be established on a philological basis.

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15

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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16

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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17

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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18

Bar, Ann Le, and Lawrence Kramer. "Franz Schubert: Sexuality, Subjectivity, Song." German Studies Review 23, no. 3 (2000): 595. http://dx.doi.org/10.2307/1432845.

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19

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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20

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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21

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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22

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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23

Leblanc, Mario. "Franz Schubert : un Pas Vers l’Atonalité." Canadian University Music Review 9, no. 2 (1989): 84. http://dx.doi.org/10.7202/1014907ar.

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24

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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25

Pinkas, Sally. "Franz Schubert, Fantasies for Piano, ed. Walther Dürr and David Goldberger. Franz Schubert: New Schubert Edition, BA 10862 (Kassel: Bärenreiter, 2014). xviii+62pp. € 17,95." Nineteenth-Century Music Review 13, no. 1 (2016): 163–66. http://dx.doi.org/10.1017/s1479409815000749.

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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

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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28

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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29

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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30

André, Jean-Marie. "Le voyage d’hiver Die Winterreise de Franz Schubert." Hegel N° 1, no. 1 (2017): 83. http://dx.doi.org/10.4267/2042/62029.

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31

Beta, Simone. "Aristofane a Vienna: "Le congiurate" di Franz Schubert." Quaderni Urbinati di Cultura Classica 67, no. 1 (2001): 143. http://dx.doi.org/10.2307/20546672.

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32

Solomon, Maynard. "Franz Schubert and the Peacocks of Benvenuto Cellini." 19th-Century Music 12, no. 3 (1989): 193–206. http://dx.doi.org/10.1525/ncm.1989.12.3.02a00020.

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33

Knockaert, Yves. "Wolfgang Rihm and Franz Schubert, an Enigmatic Encounter." Contemporary Music Review 36, no. 4 (2017): 207–36. http://dx.doi.org/10.1080/07494467.2017.1399668.

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34

Stiefelhagen, P. "Zum 175. Todestag von Franz Schubert (1797?1828)." Der Internist 44, no. 11 (2003): 1458–60. http://dx.doi.org/10.1007/s00108-003-1071-9.

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35

Golianek, Ryszard Daniel. ""Podróż zimowa" Franza Schuberta w reinterpretacji Barbary Kingi Majewskiej: estetyka i retoryka." Muzyka 65, no. 4 (2020): 69–83. http://dx.doi.org/10.36744/m.660.

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Opublikowana przez wydawnictwo Bôłt Records w 2015 roku płyta Barbara Kinga Majewska and Emilia Sitarz play Franz Schubert „Winterreise” jest jednym z najciekawszych przejawów reinterpretacji wybitnych dzieł muzycznych przeszłości, jakich podejmują się eksperymentujący wykonawcy młodszego pokolenia. Wokalistka Barbara Kinga Majewska (ur. 1982) oraz pianistka Emilia Sitarz (ur. 1978) zaproponowały autorską wersję cyklu pieśni Schuberta, w której odnaleźć można tak typowe dla estetyki postmodernizmu łączenie różnych tradycji i stylistyk, jak również liczne przejawy dekompozycji i autorskiego pot

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36

Sobaskie, James William. "Conversations within and between two early lieder of Schubert." Nineteenth-Century Music Review 13, no. 1 (2016): 83–102. http://dx.doi.org/10.1017/s1479409815000531.

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Biographical background and musical analysis reveal a remarkable relationship between Franz Schubert’s early lieder ‘An die Geliebte’ and ‘An die Nachtigall’. In ‘An die Geliebte’, tonal ambiguity underscores the indeterminate nature of its narrative, permitting multiple coexistent and contrasting expressive meanings while favouring an ironic interpretation and an intriguing subtext. In ‘An die Nachtigall’, whose introduction and first phrase are similar to the opening of ‘An die Geliebte’, multiple expressive meanings also may be discerned, including an ironic interpretation that emerges when

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37

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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38

Branscombe, Peter, and Rita Steblin. "Die Unsinnsgesellschaft. Franz Schubert, Leopold Kupelwieser und ihr Freundeskreis." Modern Language Review 95, no. 4 (2000): 1127. http://dx.doi.org/10.2307/3736687.

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39

Guerra Tapia, Aurora. "Franz Peter Schubert y el estigma de la sífilis." Más dermatología, no. 17 (May 1, 2012): 28–29. http://dx.doi.org/10.5538/1887-5181.2012.17.28.

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40

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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41

Barkhymer, Lyle T. "Franz Schubert 1797–1828: A Literary Biography by Gloria Kaiser." Journal of Austrian Studies 48, no. 1 (2015): 162–63. http://dx.doi.org/10.1353/oas.2015.0015.

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42

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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43

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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44

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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45

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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46

Schneeman, Eric. "Franz Schubert: Ein Opernkomponist? Am Beispiel des Fierrabras by Liane Speidel." Notes 70, no. 2 (2013): 272–74. http://dx.doi.org/10.1353/not.2013.0138.

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47

BROWN, MARSHALL. "Negative Poetics: On Skepticism and the Lyric Voice." Representations 86, no. 1 (2004): 120–40. http://dx.doi.org/10.1525/rep.2004.86.1.120.

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ABSTRACT Beginning with negative formulations found in many lyric poems, this essay argues that poetry in general skeptically distances the speaking voice from the authorial perspective, even in poems that have been taken to express direct personal feeling. German Romantic examples (Wilhelm Müüller's ““Der Neugierige”” as set by Franz Schubert, Goethe's ““Meeresstille,”” and Joseph von Eichendorff's ““Mittagsruh””) are featured, with the intent of suggesting a general account of the lyric voice.

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48

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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49

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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50

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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