In Franz Schubert's Music in Performance David Montgomery challenges many operative myths about the music of this great, but often misunderstood, Viennese master. Chief among them is the lingering notion that Schubert was poorly-trained but still managed to turn out brilliant, if often flawed, scores. Modern adherents of this view believe that Schubert could not notate his own musical wishes accurately, and that he was principally a creature of intuition. Accordingly, musicians might allow themselves wide intuitive leeway in the interpretation of his music. Another myth challenged by Montgomery is that Schubert was a conservative, or perhaps even a chronological throwback. Opposing recent attempts to legitimize performer-generated embellishment of Schubert's music in the style of the eighteenth century, He clarifies Schubert's contributions to the radical intellectualism of nineteenth-century romanticism. The book offers six informative chapters ranging from aesthetics and acoustics to the specifics of tempo and expression, plus an appendix of pertinent Viennese pedagogical sources. In addition to many years of musicological research, Montgomery brings long experience as a concertizing pianist and conductor to this engaging and controversial work.
This collection of articles clarifies problems of style and chronology in the music Schubert composed during the last decade of his life.
Franz Schubert (1797-1828) is now rightly recognized as one of the greatest and most original composers of the nineteenth century. 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.
Provides background information on the text and translation for all of Schubert's songs. "A bible for the serious Schubertian."--Back cover.
Addressing a wide range of topics—from Schubert’s approach to large-scale musical form to his innovations in instrumental forms and Lieder—Schubert offers a diverse, illuminating portrait of the composer and his music.
This is a guide to both the music and the poetry of Schubert's much-loved song cycle, set to poems by the Prussian poet Wilhelm MÜller. Composed in 1823, this work is one of the greatest masterpieces of the song repertoire. The genesis of both the poetry and the music, composed soon after Schubert discovered that he had contracted syphilis, is discussed in the first two chapters. A chapter on the poetry considers MÜller's uneasy relationship to the tenets of Romanticism; the influence of Goethe, folk poems, and medieval poetry on Die schöne MÜllerin; and a reading of each of the poems, which are reproduced in German and in English translation. The final chapter provides commentary on each of the twenty songs in the cycle.
This Companion to Schubert examines the career, music, and reception of one of the most popular yet misunderstood and elusive composers. Sixteen chapters by leading Schubert scholars make up three parts. The first seeks to situate the social, cultural, and musical climate in which Schubert lived and worked, the second surveys the scope of his musical achievement, and the third charts the course of his reception from the perceptions of his contemporaries to the assessments of posterity. Myths and legends about Schubert the man are explored critically and the full range of his musical accomplishment is examined.
This collection contains 25 selections including dances, "Moment Musicaux," an impromptu, a set of variations and various other works. Schubert's compositional output, musical style and use of ornaments are discussed in the preface. Original editions and more recent editions were consulted and significant discrepancies appear as footnotes.
This book develops fresh ideas on harmony through analyzing the music of one of Western music's true innovators, Franz Schubert.
Winterreise is perhaps the greatest song cycle ever written. Franz Schubert set to music the evocative poetry of his contemporary, German lyricist Wilhelm M�ller. It is a heart-rending portrayal of a winter journey full of misery and woe. This striking and unique multimedia volume brings together the achievements of Schubert and M�ller with new interpretations by present-day musicians, scholars, and a photographer. The volume includes: o the complete German text of Wilhelm M�ller’s twenty-four poems o a new English translation of the poems by Louise McClelland Urban o a foreword by Pulitzer Prize–winning American composer John Harbison o an introductory essay by renowned Schubert scholar Susan Youens o ninety-two stunning black and white photographs of a winter’s journey by Katrin Talbot o a compact-disc recording of the Winterreise song cycle performed by baritone Paul Rowe and pianist Martha Fischer.
Of all the great composers, none - not even Mozart - has been so dogged by myth and misunderstanding as Franz Schubert. The notion of Schubert as a pudgy, lovelorn Bohemian schwammerl (mushroom) scribbling tunes on the back of menus in idle moments has never quite been eradicated. In this major new biography, Brian Newbould balances discussion of Schubert's compositions with an exploration of biographical influences that shaped his musical aesthetics. Schubert: The Music and the Man offers an eminently readable description of a musician who was compulsively dedicated to his art - a composer so prolific that he produced over a thousand works in eighteen years. Gifted with an intuitive know-how, coupled with a Mozartian facility for composition, Schubert combined the relish and wonder of an amateur with the discipline and technical rigor of a professional. He moved quickly and comfortably among genres, and sometimes composed directly into score but many pieces required painstaking revision before they satisfied his growing self-criticism. Examining afresh the enigmas surrounding Schubert's religious outlook, his loves, his sexuality, his illness and death, Newbould offers above all a celebration of a unique genius, an idiosyncratic composer of an astonishing body of powerful, enduring music.
"Singular Loci of Schubert Varieties" is a unique work at the crossroads of representation theory, algebraic geometry, and combinatorics. Over the past 20 years, many research articles have been written on the subject in notable journals. In this work, Billey and Lakshmibai have recreated and restructured the various theories and approaches of those articles and present a clearer understanding of this important subdiscipline of Schubert varieties – namely singular loci. The main focus, therefore, is on the computations for the singular loci of Schubert varieties and corresponding tangent spaces. The methods used include standard monomial theory, the nil Hecke ring, and Kazhdan-Lusztig theory. New results are presented with sufficient examples to emphasize key points. A comprehensive bibliography, index, and tables – the latter not to be found elsewhere in the mathematics literature – round out this concise work. After a good introduction giving background material, the topics are presented in a systematic fashion to engage a wide readership of researchers and graduate students.
The first book to examine Schubert's songs as active shaping forces in the culture of their era rather than a mere reflection of it. His songs project a kaleidoscopic array of unexpected human types, all of whom are eligible for a sympathetic response. Kramer shows how Schubert sought to validate these types in his songs.
The "Notes on . . ." series by distinguished music critic Conrad Wilson illuminates the music of some of history's greatest composers in relation to their private lives. In each "Notes on . . ." volume Wilson selects twenty crucial works of a given composer, discusses these masterpieces with insight and verve, and explains why these particular works are fundamental to understanding the composer. Permeating these pages are Wilson's vast musical expertise and his colorful, succinct, polished prose style. As a bonus Wilson highlights choice recordings of the music he discusses. Meant for any general reader interested in music, these guidebooks are ideal for dipping into as well as reading straight through. In this exploration of Schubert's rich music together with his complex personality and inner conflicts, Wilson considers Schubert's sexuality and also examines signs that Schubert was moving into a new, important phase of his output when he died.
A richly detailed examination of the historical reception of Franz Schubert in nineteenth- and early twentieth-century Europe, with a concentration on fin-de-siècle Vienna.
Welcome to The Independent’s new ebook series The Great Composers, covering fourteen of the giants of Western classical music. Extracted from Michael Steen’s book The Lives and Times of the Great Composers, these concise guides, selected by The Independent’s editorial team, explore the lives of composers as diverse as Mozart and Puccini, reaching from Bach to Brahms, set against the social, historical and political forces which affected them, to give a rounded portrait of what it was like to be alive and working as a musician at that time. In his short life of not quite 32 years – the briefest span of any first-rank composer – Schubert composed over 600 songs, showing a talent for word-setting which for many has never been equalled. However, while his songs gained gradual fame while he was alive, many of the works for which he is renowned were never performed in his lifetime, not even his Eighth Symphony, the Unfinished, or the Ninth Symphony, The Great C Major, which are so ubiquitous now. He was not lionised for the String Quintet in C, whose second movement Adagio remains one of the most requested pieces on Desert Island Discs. Nor did his exquisite quartets and piano music receive much recognition at the time. Michael Steen evokes Schubert's youth as the son of an impoverished schoolteacher and his life among a boisterous, arty set of friends living it up in the dazzling gaiety of early 19th-century Vienna. Their evening gatherings for an intoxicating mix of politics, conversation and music became known as Schubertiads. At 25 Schubert contracted syphilis and was to suffer ill health for the rest of his life, falling into the depression that is so heart-rendingly expressed in some of his works. Schubert died only a year and a half after Beethoven, having been a torch-bearer at his funeral. Even so, he remained prodigiously productive and those last years bequeathed some of his finest works.