Schubert's Fingerprints: Studies in the Instrumental WorksAs Robert Schumann put it, "Only few works are as clearly stamped with their author's imprint as his." This book explores Schubert's stylistic traits in a series of chapters each discussing an individual 'fingerprint' with case studies drawn principally from the piano and chamber music. The notion of Schubert's compositional fingerprints has not previously formed the subject of a book-length study. The features of his personal style considered here include musical manifestations of Schubert's 'violent nature', the characteristics of his thematic material, and the signs of his 'classicizing' manner. In the process of the discussion, attention is given to matters of form, texture, harmony and gesture in a range of works, with regard to the various 'fingerprints' identified in each chapter. The repertoire discussed includes the late string quartets, the String Quintet, the E flat Piano Trio and the last three piano sonatas. Developing ideas which she first proposed in a series of journal articles and contributions to symposia on Schubert, Professor Wollenberg takes into account recent literature by other scholars and draws together her own researches to present her view of Schubert's 'compositional personality'. Schubert emerges as someone exerting intellectual control over his musical material and imbuing it with poetic resonance [Publisher description] |
Contents
1 Introduction | 1 |
Schuberts MajorMinor Usage and its Nuances | 15 |
3 Poetic Transitions | 47 |
4 Schuberts Second Themes | 99 |
5 Schubert and Mozart | 133 |
6 Schuberts Violent Nature | 161 |
7 Threefold Constructions | 191 |
8 Schuberts Variations | 213 |
9 Heavenly Length | 245 |
Whose Schubert? | 287 |
| 297 | |
Chronology of Schuberts Instrumental Works Discussed | 309 |
| 311 | |
| 313 | |
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Schubert's Fingerprints: Studies in the Instrumental Works Prof Dr Susan Wollenberg Limited preview - 2013 |
Common terms and phrases
Allegro Andante arpeggiated bass Beethoven Blom Brian Newbould cadence Cambridge chamber Chapter character characteristic chord chromatic fourth Classical close coda context countertheme creates cresc Daverio device discussed Dissonance dominant effect elements enharmonic episodic forms Example explored F minor Fantasy figure finale fingerprints fourth movement Franz Schubert further G major harmonic Hascher heavenly lengths Ibid Impromptu intense introduction Lieder linked lyrical major at bar major Quartet major Sonata major-minor McKay melodic moderato mood motif moto perpetuo move Mozart Mozartian Newbould octave opening theme outline Oxford passage phrase Piano Sonata Piano Trio progression Quartettsatz recapitulation reference relationship relative major retransition Robert Schumann rondo scherzo Schubert's music Schubert's Transitions Schubertian second movement semiquavers slow movement sonata form song String Quintet submediant suggested Symphony texture Theme II third movement three-key exposition threefold tonal tonic minor transformation University Press variations verse violin Wanderer Wollenberg