Schubert s Beethoven Project

... they continued their Schubert commemoration by following the precedent of the “society concerts,” and performed the “little” C-major Symphony.72 When Schubert began his Beethoven project in early 1824 only nine months had passed ...

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ISBN: 0521650879

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Beethoven Forum

Peter Gülke has argued that Schubert composed his great C - Major Symphony ( D.944 ) as a “ counter - symphony ” in ... 54 And John Michael Gingerich has recently made a strong case for what he calls “ Schubert's Beethoven Project ...

Author: Beethoven Forum

Publisher: U of Nebraska Press

ISBN: 9780803261952

Category: Music

Page: 232

View: 877

Collecting the best of international Beethoven studies, Beethoven Forum promotes and sustains the high level of scholarship inspired by Beethoven's extraordinary works.

Franz Schubert and His World

See “Zu Grillparzers Inschrift auf Schuberts Grabdenkmal,” Schubert durch die Brille 29 (2002): 125–28. 24. John M. Gingerich, “Unfinished Considerations: Schubert's 'Unfinished' Symphony in the Context of His Beethoven Project,” ...

Author: Christopher H. Gibbs

Publisher: Princeton University Press

ISBN: 1400865352

Category: Biography & Autobiography

Page: 384

View: 742

The life, times, and music of Franz Schubert During his short lifetime, Franz Schubert (1797–1828) contributed to a wide variety of musical genres, from intimate songs and dances to ambitious chamber pieces, symphonies, and operas. The essays and translated documents in Franz Schubert and His World examine his compositions and ties to the Viennese cultural context, revealing surprising and overlooked aspects of his music. Contributors explore Schubert's youthful participation in the Nonsense Society, his circle of friends, and changing views about the composer during his life and in the century after his death. New insights are offered about the connections between Schubert’s music and the popular theater of the day, his strategies for circumventing censorship, the musical and narrative relationships linking his song settings of poems by Gotthard Ludwig Kosegarten, and musical tributes he composed to commemorate the death of Beethoven just twenty months before his own. The book also includes translations of excerpts from a literary journal produced by Schubert’s classmates and of Franz Liszt’s essay on the opera Alfonso und Estrella. In addition to the editors, the contributors are Leon Botstein, Lisa Feurzeig, John Gingerich, Kristina Muxfeldt, and Rita Steblin.

Self quotation in Schubert

Gingerich, John M. “'Classical' Music and Viennese Resistance to Schubert's Beethoven Project.” In Bodley and Horton, Schubert's Late Music, 19–34. ———. “Ignaz Schuppanzigh and Beethoven's Late Quartets.” Musical Quarterly 93, no. 3/4 ...

Author: Scott Messing

Publisher: Boydell & Brewer

ISBN: 1580469655

Category: Music

Page: 334

View: 719

Examines the history of musical self-quotation, and reveals and explores a previously unidentified case of Schubert quoting one of his own songs in a major instrumental work.

Schubert s Late Music

It is difficult to gauge the subtle (and perhaps not so subtle) ways in which these class circumstances reinforced the fixity ... As consistent and fastidious as Schubert was in his long-range career planning for his Beethoven project, ...

Author: Lorraine Byrne Bodley

Publisher: Cambridge University Press

ISBN: 1107111293

Category: Art

Page: 448

View: 616

A thematic exploration of Schubert's style, applied in readings of his instrumental and vocal literature by international scholars.

Rethinking Schubert

'“You Must Remember This”: Memory and Structure in Schubert's String Quartet in G Major, D 887'. Musical Quarterly, 84/4 (2000), pp. ... 'Unfinished Considerations: Schubert's “Unfinished” Symphony in Context of His Beethoven Project'.

Author: Lorraine Byrne Bodley

Publisher: Oxford University Press

ISBN: 0190606835

Category: Music

Page: 576

View: 515

In Rethinking Schubert, today's leading Schubertians offer fresh perspectives on the composer's importance and our perennial fascination with him. Subjecting recurring issues in historical, biographical and analytical research to renewed scrutiny, the twenty-two chapters yield new insights into Schubert, his music, his influence and his legacy, and broaden the interpretative context for the music of his final years. With close attention to matters of style, harmonic and formal analysis, and text setting, the essays gathered here explore a significant portion of the composer's extensive output across a range of genres. The most readily explicable aspect of Schubert's appeal is undoubtedly our continuing engagement with the songs. Schubert will always be the first port of call for scholars interested in the relationship between music and the poetic text, and several essays in Rethinking Schubert offer welcome new inquiries into this subject. Yet perhaps the most striking feature of modern scholarship is the new depth of thought that attaches to the instrumental works. This music's highly protracted dissemination has combined with a habitual critical hostility to produce a reception history that is hardly congenial to musical analysis. Empowered by the new momentum behind theories of nineteenth-century harmony and form and recently-published source materials, the sophisticated approaches to the instrumental music in Rethinking Schubert show decisively that it is no longer acceptable to posit Schubert's instrumental forms as flawed lyric alternatives to Beethoven. What this volume provides, then, is not only a fresh portrait of one of the most loved composers of the nineteenth century but also a conspectus of current Schubertian research. Whether perusing unknown repertoire or refreshing canonical works, Rethinking Schubert reveals the extraordinary methodological variety that is now available to research, painting a contemporary portrait of Schubert that is vibrant, plural, trans-national and complex.

The Unknown Schubert

The most famous set of aequalen are a set of three such pieces (all for trombone quartet) by Beethoven, ... In Schubert's evocation of this timbre in the two songs discussed here, it is as if the exhausted wanderer projects himself ...

Author: LorraineByrne Bodley

Publisher: Routledge

ISBN: 1351539833

Category: Music

Page: 296

View: 211

Franz Schubert (1797-1828) is now rightly recognized as one of the greatest and most original composers of the nineteenth century. His keen understanding of poetry and his uncanny ability to translate his profound understanding of human nature into remarkably balanced compositions marks him out from other contemporaries in the field of song. Schubert was one of the first major composers to devote so much time to song and his awareness that this genre was not rated highly in the musical hierarchy did not deter him, throughout a short but resolute and hard-working career, from producing songs that invariably arrest attention and frequently strike a deeply poetic note. Schubert did not emerge as a composer until after his death, but during his short lifetime his genius flowered prolifically and diversely. His reputation was first established among the aristocracy who took the art music of Vienna into their homes, which became places of refuge from the musical mediocrity of popular performance. More than any other composer, Schubert steadily graced Viennese musical life with his songs, piano music and chamber compositions. Throughout his career he experimented constantly with technique and in his final years began experiments with form. The resultant fascinating works were never performed in his lifetime, and only in recent years have the nature of his experiments found scholarly favor. In The Unknown Schubert contributors explore Schubert's radical modernity from a number of perspectives by examining both popular and neglected works. Chapters by renowned scholars describe the historical context of his work, its relation to the dominant artistic discourses of the early nineteenth century, and Schubert's role in the paradigmatic shift to a new perception of song. This valuable book seeks to bring Franz Schubert to life, exploring his early years as a composer of opera, his later years of ill-health when he composed in the shadow of death, and his efforts to reflect i

Returning Cycles

John M. Gingerich , “ Schubert's Beethoven Project ” ( Ph.D. diss . , Yale University , 1996 ) . Arthur Godel , Schuberts letzte drei Klaviersonaten ( Baden - Baden : Valentin Koerner , 1985 ) , 242 . See , for example , James Webster ...

Author: Charles Fisk

Publisher: Univ of California Press

ISBN: 9780520925786

Category: Biography & Autobiography

Page: 308

View: 206

This compelling investigation of the later music of Franz Schubert explores the rich terrain of Schubert's impromptus and last piano sonatas. Drawing on the relationships between these pieces and Schubert's Winterreise song cycle, his earlier Der Wanderer, the closely related Unfinished Symphony, and his story of exile and homecoming, My Dream, Charles Fisk explains how Schubert's view of his own life may well have shaped his music in the years shortly before his death. Fisk's intimate portrayal of Schubert is based on evidence from the composer's own hand, both verbal (song texts and his written words) and musical (vocal and instrumental). Noting extraordinary aspects of tonality, structure, and gestural content, Fisk argues that through his music Schubert sought to alleviate his apparent sense of exile and his anticipation of early death. Fisk supports this view through close analyses of the cyclic connections within and between the works he explores, finding in them complex musical narratives that attempt to come to terms with mortality, alienation, hope, and desire. Fisk's knowledge of Schubert's life and music, together with his astute and imaginative attention to musical detail, helps him achieve one of the most difficult goals in music criticism: to capture and verbalize the human content of instrumental music.

Schubert

Schubert contra Beethoven : Instrumental Forms Schubert's achievement is nowhere more hotly contested than in the ... style is by no means endemic to his symphonic sonata forms , but rather finds maturity in his ' Beethoven project ' ...

Author: Julian Horton

Publisher: Routledge

ISBN: 1351549979

Category: History

Page: 516

View: 783

The collection of essays in this volume offer an overview of Schubertian reception, interpretation and analysis. Part I surveys the issue of Schubert‘s alterity concentrating on his history and biography. Following on from the overarching dualities of Schubert explored in the first section, Part II focuses on interpretative strategies and hermeneutic positions. Part III assesses the diversity of theoretical approaches concerning Schubert‘s handling of harmony and tonality whereas the last two parts address the reception of his instrumental music and song. This volume highlights the complexity and diversity of Schubertian scholarship as well as the overarching concerns raised by discrete fields of research in this area.

In the Process of Becoming

Note J. W. N. Sullivan's observation about Beethoven's last quartets, as applied by William Kinderman to op. ... It has been reproduced in Stephen E. Hefling and David S. Tartakoff, “Schubert's Chamber Music,” in NineteenthCentury ...

Author: Janet Schmalfeldt

Publisher: Oxford University Press

ISBN: 0190656123

Category: Music

Page: 344

View: 468

With their insistence that form is a dialectical process in the music of Beethoven, Theodor Adorno and Carl Dahlhaus emerge as the guardians of a long-standing critical tradition in which Hegelian concepts have been brought to bear on the question of musical form. Janet Schmalfeldt's ground-breaking account of the development of this Beethoven-Hegelian tradition restores to the term "form" some of its philosophical associations in the early nineteenth century, when profound cultural changes were yielding new relationships between composers and their listeners, and when music itself-in particular, instrumental music-became a topic for renewed philosophical investigation. Precedents for Adorno's and Dahlhaus's concept of form as process arise in the Athenäum Fragments of Friedrich Schlegel and in the Encyclopaedia Logic of Hegel. The metaphor common to all these sources is the notion of becoming; it is the idea of form coming into being that this study explores in respect to music by Beethoven, Schubert, Mendelssohn, Chopin, and Schumann. A critical assessment of Dahlhaus's preoccupation with the opening of Beethoven's "Tempest" Sonata serves as the author's starting point for the translation of philosophical ideas into music-analytical terms-ones that encourage listening "both forward and backward," as Adorno has recommended. Thanks to the ever-growing familiarity of late eighteenth-century audiences with formal conventions, composers could increasingly trust that performers and listeners would be responsive to striking formal transformations. The author's analytic method strives to capture the dynamic, quasi-narrative nature of such transformations, rather than only their end results. This experiential approach to the perception of form invites listeners and especially performers to participate in the interpretation of processes by which, for example, a brooding introduction-like opening must inevitably become the essential main theme in Schubert's Sonata, Op. 42, or in which tremendous formal expansions in movements by Mendelssohn offer a dazzling opportunity for multiple retrospective reinterpretations. Above all, In the Process of Becoming proposes new ways of hearing beloved works of the romantic generation as representative of their striving for novel, intensely self-reflective modes of communication.