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The musical era of Romanticism leaped forward from the individuality of Beethoven and developed composers that were unafraid of expressing their passions through their music. The leading figures of Romanticism, like Schubert and Liszt, no longer saw themselves as servants of their audiences but instead made it their goal to show what they loved in their music. Even despite the stark individualism that was prevalent in this era, there was a shared passion many composers had that was able to unify them, a love for poetry. By studying emotive vocal genres like the German Lied as well as the influences of poetic literature on purely instrumental works, poetry is revealed to be a common trait in the Romantic era. [ABSTRACT FROM AUTHOR]

This lyric essay is a version of the one in Chronicles of Art and Hope, published later in 2025 by Ma Bibliothèque. This is a collection where in response to more artworks, various forms of writing help me shine various lights on force, on vulnerability, and on ways to reach out without stifling.

Alfred Brendel holds a prominent place among the great pianists of the 20th and 21st centuries, being recognized not only for his acclaimed performances, but also for his significant contributions as a thinker, poet, and lecturer. This paper aims to share a question-and-answer session between Alfred Brendel and Óscar Caravaca, which took place during his lecture on January 31, 2018 in Mallorca, Spain. The reflections shared here illuminate the continuing tension between the performer's moral responsibility to honor the composer's intentions and the desire for personal artistic expression.

The musical era of Romanticism leaped forward from the individuality of Beethoven and developed composers that were unafraid of expressing their passions through their music. The leading figures of Romanticism, like Schubert and Liszt, no longer saw themselves as servants of their audiences but instead made it their goal to show what they loved in their music. Even despite the stark individualism that was prevalent in this era, there was a shared passion many composers had that was able to unify them, a love for poetry. By studying emotive vocal genres like the German Lied as well as the influences of poetic literature on purely instrumental works, poetry is revealed to be a common trait in the Romantic era.

This article analyzes the historical and cultural background of F. Schubert’s achievements in the field of chamber vocal music, in particular, in correlation with the vocal and piano parts. We are talking about the fact that the basis of Schubert’s Lied are the traditions of German and Austrian folk songs, the work of minnesingers, meistersingers, predecessor composers. Reliance on folklore determines the intonation, the rhythmic and structural patterns of Schubert’s songs. The influence of the masters of minnesang and meistersang is felt in the harmony and composition logic of the Austrian genius. The legacy of Mozart and Beethoven is especially close to the romantic achievements of Schubert. In the chamber-vocal music of these Viennese classics are used different types of correlation between the vocal and instrumental music scores: accompaniment prevails according to the principles of the general bass, but there are already some examples of relative independence of the music score ensemble. There appear instrumental introductions, conclusions, interludes. The texture of the piano part is diversified according to the types of presentation, and contains an imitation of the sounds of nature.

A newly discovered derivation of Schubert from Beethoven is presented: the piano sonata in B major D.575 IV from the piano sonata in A-flat major Op.26 II. A method for finding thematic derivations is first outlined. The present derivation shows Schubert learning to compose thematic material by following Beethoven’s example. The article increases our knowledge of Schubert after his early mastery of vocal composition, as he earnestly worked to learn the piano solo side of his craft. He needed to master three main areas: logical manipulation of abstract musical material rather than text-based expression, sonata-allegro and related forms rather than song forms, and writing for the physical technique of solo piano performance rather than for voice with piano accompaniment. He had apparently received little or no training in those areas, and it is very instructive to see him making his own way.

Schubert's "Heidenröslein" is sprightly and cheerful, but it sings of a woman's rape. This article maps out the political implications of the song's multiple alibis, drawing on reception history and post-Freudian lessons on listening. Schubert's music engenders myths about hearing that resonate with musicology's material turn and the postcritical attention to attachment, enchantment, and presence. "Heidenröslein," however, reveals music's charm not as a reliable harbinger of freedom- from disembodiment, epistemological certitude, or metaphysical abstraction-but as an occasional captor, liar, and false informant. Slavoj Zizek's taxonomy of violence prompts a new reflection on Schubert's song, which centers on what I theorize as "inaudible violence." This violence complicates Schubert's seemingly progressive relationship to questions of gender and sexuality, as well as the ethics of postcritical affective attachment. Schubert's song, ultimately, gives voice to a philosophy of music's inaudible violence. It calls for a psychoanalytic archaeology of acoustic acts and artifacts that encourages attention to musical sound's ethical misgivings, which, when not overlooked, may just be overheard. [ABSTRACT FROM AUTHOR]

The article examines the different versions of Schubert's Choral Lied on a text by Goethe Gesang der Geister über den Wassern, focusing mainly on the final version for male octet and string ensemble. The investigation starts with a semantic-morphological analysis of the verbal text and then concentrates on the solutions Schubert experimented with in an attempt to produce a setting as close as possible to the spirit of Goethe’s text.

'Liederistic' music is a musical genre on which architectural acoustical research is rarely focused. Despite this lack of scholarship, however, this genre represents one of the most interesting challenges for acoustical problem solving. In fact, it combines speech and music comprehension requirements in a fascinating manner to illuminate elements of both the magnification of the musical score and the hidden tension of a sung poetry text. To individualise the main characteristics of this genre, a multidisciplinary approach is taken, starting from a musical point of view. A knowledge and comprehension of music is a fundamental step to determine the parameters that allow for the best performance and listening experience of this particular music. Consequently, an introduction to the physics and acoustical characteristics of the singing voice and the piano is given, specifically highlighting the technological development of the piano since the 18th century. Through a combination of historical, architectural, and interior design research, a possible location of the original performance is recreated to investigate the probable primal acoustic conditions using computational analysis. Various contemporary chamber music halls were then considered and compared to the reconstructed location to investigate whether actual places exist with similar acoustic conditions. [ABSTRACT FROM AUTHOR]

In this article, I share findings from analysis of first-movement sonata forms composed by Franz Schubert from 1810 to 1828. This work builds on prior studies of nineteenth-century sentences (e.g., BaileyShea 2002/2003, Bivens 2018, Broman 2007, Vande Moortele 2011, and Krebs 2013), offering an indepth investigation of Schubert's use of expanded sentence forms. I theorize the typical qualities of Schubert's large-scale sentences and highlight a particularly common type, in which the large-scale continuation phrase begins as a third statement of the large-scale basic idea (i.e., a dissolving third statement). I present four examples of this formal type as representative, drawn from the C Major Symphony (D. 944/i), the C Minor Piano Sonata (D. 958/i), the C Major String Quintet (D. 956/i), and the D Minor String Quartet (D. 810/i). My analytical examples invite the reader to contemplate the negotiation of surface-level paratactic repetitions with deeper hypotactic structures. These large structures invite new modes of listening; exemplify the nineteenth-century shift away from the relative brevity of Classical precursors in favor of expanded forms; and problematize facile distinctions between inter- and intrathematic functions. This formal type would eventually flourish over the course of the nineteenth century, underpinning many composers' strategies for formal expansion. [ABSTRACT FROM AUTHOR]

This article traces the concert performance history of Schubert's song cycle Winterreise, D. 911, during the second half of the nineteenth century. It begins by presenting a two-part theoretical framework, according to which the songs are understood as ontologically related to Friedrich Schlegel's idea of the fragment, while the theoretical and practical treatments by musicians, critics, and scholars are viewed in relation to Walter Benjamin's contrasting ideas of the "collector" and the "allegorist." It then examines the practices of key figures such as the baritone Julius Stockhausen, a pioneer in lieder performance, and his circle, including Clara Schumann and Johannes Brahms. Their performance and programming strategies are then contextualized against a larger statistical survey of the Winterreise songs in public concerts within the Austro-German realm, drawing on surviving concert programs and press reports. This shows that, in performance, individual songs were treated as fragments to be reassembled in many ways, inviting fresh interpretive possibilities on the part of listeners. Further contextualization is provided by a brief survey of Winterreise in print and as discussed in critical writing, revealing that here too there existed different approaches to the work as "whole" and "fragment." Ultimately, I argue that the coherence of such cycles is not intrinsic but constructed over time by multiple actors--performers, listeners, publishers, and critics--and that an awareness of this creates new possibilities for the understanding and performance of multipart works. [ABSTRACT FROM AUTHOR]

At the beginning of 1941, Professor Ludwig Föppl published an eight‐page paper "Elastische Beanspruchung des Erdbodens unter Fundamenten" (Elastic stress in the ground under foundations). It was further developed by his doctoral student Gerhard Schubert and led to a publication by Schubert in 1942, which contains many results obtained by researchers in contact mechanics in the subsequent decades of the 20th century and would make many of these efforts unnecessary... if it had become known. Unfortunately, both papers have been forgotten, which is not particularly surprising considering the years when they appeared (1941–1942), the language (German), as well as the location of the publisher (Munich). Yet, these are true classic works that are still very worth reading, not just as historical artifacts, but also in terms of content. It is most regrettable that this excellent work, which in itself nearly represents a small "handbook of contact mechanics", remained essentially unknown for a long time and has only been "rediscovered" in recent years. The present paper provides a historical background and a guideline to the mentioned works by Föppl and Schubert, followed by a complete English translation of Schubert's paper. [ABSTRACT FROM AUTHOR]

The thematic organization of musical reprises and recapitulations has not received as much attention as that of expositions. One reason for this is the assumption that recapitulations are simply retracings of thematic paths already plotted in the exposition, with their tonal profiles adjusted to remain in the tonic. The present article seeks to complexify this view by devoting analytic and interpretive attention to a handful of refrains, reprises, and recapitulations that feature deletions of some of their referential thematic material. My primary claims are, first, that such recapitulatory compressions afford feelings of temporal and perspectival distortion (such as "too soon" or "too dose" or "too large") to listeners and to virtual protagonists, and second, that they work in concert with aspects of the presented content of the movements at hand--text, topic, mode, and so on--to project complex and multifaceted musical narratives. Examples come from poetry, song, and instrumental music and include Goethe's "Erster Verlust" and Schubert's setting of it (D. 226); Midler's "Täuschung" and "Die Nebensonnen" and Schubert's settings of them (D. 911); and Schubert's Allegro in A minor for Four hands, "Lebensstürme," D. 947. [ABSTRACT FROM AUTHOR]

We use incidence relations running in two directions in order to construct a Kempf–Laksov type resolution for any Schubert variety of the complete flag manifold but also an embedded resolution for any Schubert variety in the Grassmannian. These constructions are alternatives to the celebrated Bott–Samelson resolutions. The second process led to the introduction of W‐flag varieties, algebro‐geometric objects that interpolate between the standard flag manifolds and products of Grassmannians, but which are singular in general. The surprising simple desingularization of a particular such type of variety produces an embedded resolution of the Schubert variety within the Grassmannian. [ABSTRACT FROM AUTHOR]

La literatura de Juan Benet intenta superar la razon mediante las artes y en particular gracias a su relacion con la musica. Siguiendo los pasos de Schopenhauer o de Nietzsche ue consideran la musica como unico arte susceptible de convocar el afecto puro sin ningun tipo de mediacion intelectual , Benet busca los limites del lenguaje con operaciones constantes de modulacion frasticas para alcanzar una musica intima .En este sentido , el ensayo Puerta de Tierra permitiria entender la estrecha relacion ue une la musica benetiana con la musica de la resignacion compuesta por Schubert en las ultimas obras.

Despite differences in critical alignment, epistemological underpinnings, and reportorial coverage, studies of sonata forms nevertheless tend to share one feature: they devote the least amount of space to recapitulations. Two presuppositions might explain this neglect: (1) the recapitulation is an exact (or nearexact) restatement of the exposition's thematic materials, and (2) it takes but one tonal alteration (or "adjustment") of these materials to make a recapitulation conclude in the key in which it began. This article aims to examine the second of these presuppositions in hopes of painting a more complete and analytically adequate picture of actual practices. Its goals are, first, to give an idea of the range of strategies available to composers of the eighteenth and nineteenth centuries and, second, to show how familiarity with these strategies can open a space for new interpretations of formal drama and the plotting of narrative. The central analytic section of the article presents a taxonomy of six compositional strategies for making tonal alterations: alterations in silence, immediate alterations, thick alterations, multiple alterations, alterations without adjustment, and self-effacing alterations. [ABSTRACT FROM AUTHOR]

Stanisław Barańczak collection Journey in Winter (Podróż zimowa) published in 1994 was enthusiastically received by critics, resulting in a great number of related essays and reviews. The author of Supplements reconstructs the main reading strategies of the reviewers and takes a close look at the tools and context they employ. Finally, the reflections on the ways of interpreting the Poznan-born poet's book provoke the author to consider the critical and poetic biases, the issue of music as a source of identity and a very nonobvious relation between Schubert's vocal works and the rap aesthetics. [ABSTRACT FROM AUTHOR]

Résumé - Abstract Can one cull from Adorno's oeuvre a single coherent theory of musical performance? One wonders, since the main work he devoted to the topic, Towards a Theory of Musical Reproduction, is incomplete and often enigmatic. However, one especially suggestive desideratum for performance is evident in Adorno's praise for musical amateurs: "Lively music-making, by children, amateurs . . . supplies the theory with the most important exemplary material. Firstly, because here the music appears with all its cracks and holes, so to speak . . . through [which] one can observe, as with broken toys, how it 'works'." These and other remarks point to parataxis being a crucial performative criterion for Adorno. This essay substantiates that thesis by, first, reviewing Adorno's theory of musical performance; second, placing it in the wider context of his philosophical thought; third, rehearsing his remarks on Schubert, for him a paratactic composer par excellence; fourth, proposing some performative equivalents to hypotaxis and parataxis and pondering the repertoire for which each performance style may be suitable; finally, exposing deficiencies in Adorno's approach while at the same time trying to salvage it. [ABSTRACT FROM AUTHOR]

Scholars who have analyzed performances of Schubert's Lieder have generally focused on the voices of masterful professionals, whether looking at performances before or during the age of sound recordings. This tendency overlooks one historically important group of performers: the amateurs who made up the broad marketplace for the genre during Schubert's lifetime and throughout the nineteenth century. Studying this group of performers with any level of aesthetic particularity is, however, difficult: documentary evidence of particular singers in this group in the nineteenth century and even the early twentieth is scarce. Yet as the real-life practice of the amateur singing of Schubert's Lieder in the home gradually dwindled after the nineteenth century, fictional representations of this nineteenth-century practice began to appear in period sound films across the twentieth. While not a substitute for documentary evidence of real practices, this film phenomenon meaningfully engages with nineteenth-century cultural history, literary sources, and musical practices through presentist conventions and concerns. Such films thus offer a vehicle through which to think about continuity and change in the relationship between Schubert's song and the figure of the amateur in the nineteenth century, the twentieth century, and today. This article analyzes three period film scenes involving nineteenth-century "amateur" performances of Schubert's "Ständchen" (Schwanengesang, D. 957, no. 4). It does so in order to think about the combined aesthetic and social ramifications of the figure of the amateur in relationship to Schubert's Lieder. I look at scenes in the following three films: the operetta-influenced Schubert picture Leise flehen meine Lieder (1933), in which operetta star Mártha Eggerth sings as the Countess Esterházy, the classic novel adaptation Jane Eyre (1934), in which Virginia Bruce sings as the titular character, and a newly written piece of "governess fiction," The Governess (1998), in which Minnie Driver performs the song as said governess. None of these scenes offers unmediated or simple access to amateurism. Instead, in each scene, a professional, twentieth- century celebrity woman movie star both sings and otherwise portrays the nineteenth-century amateur musician and character onscreen. Keeping this tension in mind, I explore how this contradiction and other elements in each scene would have and can still provide audiences opportunities to think about the relationship between amateurism and Schubert's most popular songs. In so doing, I explore the term "amateur" in a number of overlapping senses that embrace positive and, to a lesser extent, pejorative meanings. My analysis ultimately shows how these three diverse film stagings valorize the figure and, indeed, the voice of the amateur in relationship to Schubert's music. These conclusions have implications regarding Schubert's songs and successful modes of performance that might attend them. [ABSTRACT FROM AUTHOR]

El propósito del texto es rastrear la influencia del magnetismo animal y del mesmerismo a través de G.H. Schubert y su Puntos de vista sobre la cara nocturna de la ciencia de la Naturaleza en las Edades del mundo de Schelling con especial atención a los pasajes consagrados al sueño para mostrar el papel de éste en la conciencia en los tiempos germinales de una filosofía del inconsciente y dar cuenta del nexo existente entre la Naturphilosophie y las fuentes del Romanticismo negro.

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The songs belong to the few compositions by Mendelssohn that until now have received scant philological review. They languished long enough under the verdict of possessing less value and not being weighty enough, especially in German-speaking countries. Avoiding faulty comparisons to Schubert or Schumann song settings facilitates a clearer assessment of Mendelssohn's compositional ingenuity and sublime melodiousness that serve to capture the tone of each poem. This is especially evident in the largest lied group--the Heine settings--through the subtle compositional means used to reflect Heine s characteristic ironic shifts. [ABSTRACT FROM AUTHOR]

Notions of symmetry, balance, and proportion have appeared prominently in the discourse on sonata form since its origin in the eighteenth century. One clear but insufficiently studied symmetry in sonata forms concerns the relationship of the length of the recapitulation to that of its referential exposition. Many recapitulations make symmetry-altering thematic transformations, but forms that make more than one such alteration tend, overwhelmingly, to make them in opposite "directions," i.e. they feature both enlargement and abridgement. This article is concerned with a relatively small set of sonata recapitulations that deliberately disavow the drive toward exposition-recapitulation symmetry. The "imbalanced" (Smyth 1990) or "lopsided" (Daverio 1993) forms under consideration satisfy two criteria: first, they feature multiple discrete sets of thematic alterations, all of which adjust the length of the recapitulation vis-à-vis its referential exposition in the same direction via either expansion or contraction; and second, they feature no thematic alterations that perform the opposite "operation." This article refers to such recapitulations as "mono-operational." Its primary goals are to outline the mono-operational strategy's formal properties and to excavate its dramatic implications from the corpus of Schubert's and Beethoven's piano works. Detailed analyses are given of the first movements of the "Pastoral" Sonata, Op. 28, and the "Grand Duo," D. 812. [ABSTRACT FROM AUTHOR]

Building on my 2004 article "The Classical Cadence: Conceptions and Misconceptions," this article examines the fate of the classical cadence in the hands of the first generation of Romantic composers (Schubert, Chopin, Schumann). It identifies seven characteristics of Romantic compositional style that, compared to classical practice, bear on issues of cadential morphology and function: (1) a more extensive use of chromaticism and dissonance; (2) a greater emphasis on root-position harmonies; (3) a more uniform harmonic rhythm and harmonic density; (4) a circularity of formal organization; (5) an ambiguity between sequential and cadential harmonies; (6) a lack of cadential closure for thematic units; and (7) an ambiguity between penultimate and ultimate dominants at points of potential cadence. Though I focus largely on cadence and closure, I also take the opportunity of pointing out other aspects of musical form that distinguish Romantic practice from the earlier classical style. [ABSTRACT FROM AUTHOR]

Franz Schubert's song cycle Die schöne Müllerin makes enormous demands not only on the performers but also on its audience, a factor that shaped the early performance history of the work. In this article, the pioneering complete performances of Die schöne Müllerin by the baritone Julius Stockhausen (1826-1906) will be explored, as well as the responses of his audiences, collaborators and critics. The circumstances surrounding the first complete performance in Vienna's Musikverein on 4 May 1856, more than three decades after the cycle was composed in 1823, will be traced. A survey of subsequent performances reveal two things: within Stockhausen's concert career at least, it was no foregone conclusion that the complete cycle should always be performed and a performance of the "complete cycle" meant many different things in his day. Stockhausen's artistic idealism jostled against the practical forces that necessarily influenced his approach to recital programming, leading to a multifaceted, untidy performance history for this cycle. [ABSTRACT FROM AUTHOR]

The purpose of this article is to compare two significantly different Lieder by Franz Schubert, both composed in 1823, and sharing a mutual theme, water. In Auf dem Wasser zu singen (D 774) the water runs: what we have is a fluid, dynamic, unstable element. In Des Baches Wiegenlied (D 795, no. 20) the water stagnates in a draining, deadly calm. Nevertheless, the sound representations of these very distant poetic images share the same formal structure: they are both strophic Lieder. The distinction lies elsewhere: in the ductus, the metric-rhythmical scheme of the verses (dactylic hendecasyllables in the former, Knittelverse in the latter), and hence of the melody. More in general, the differentiating element lies in the relationship between voice and piano, text and music.A close examination of the two Lieder easily lends itself to an illustration of the processes that govern ‘creativity’ in a composer like Schubert, who combines an extraordinary inventiveness with a perfect mastery of form. In fact, what is referred to as ‘creativity’ can hardly be reduced to such categories as ‘inspiration’ or ‘spontaneity’ (as it is often taken to mean in music education classes), but implies a trained ability to recombine and reprocess data and techniques one has already acquired.

This analytical vignette explores Schubert's inventive handling of vocal and accompanimental texture, focusing on a technique by which he moves the vocal part from the principal melody into an inner or bass voice. These passages, in which the vocal line cedes its role as the bearer of melody and hides within the texture, relate in striking ways to the poetry associated with them: Schubert tends to reserve these hidden melodies for poems that deal with concealment, interiority, seclusion, inwardness, and intimacy. Analysis of a representative song--"Greisengesang," D. 778 (1823)--reveals the different strategies that Schubert uses to reposition the voice within the texture and the profound expressive effects that result. [ABSTRACT FROM AUTHOR]

Concepts that Wittgenstein introduces while explaining "seeing(-as)" have proven fruitful for elucidating musical experiences. They are "perception," associated with "hearing," and "impression," associated with "hearing-as." The concept of "interpretation" plays a mediating role. Hearing music involves interpretation of the musical sounds as instances of familiar musical entities whose meanings have been learned through extensive experience. It seems like direct perception but is more specialized, interpretation-infused "music perception." Hearing-as melds perception with thought. One hears the musical events but also hears in them such attributes as psychological states, movement, intensities, and atmospheres. In analysis, conventional terminology reflects music perceptions and music hearing, as well as some instances of music hearing-as. Music hearing-as and musical impressions draw on expressive possibilities from any domain that describes the character of musical experiences. These ideas are brought to bear on an excerpt of an analysis by Charles Fisk of a Schubert work. [ABSTRACT FROM AUTHOR]

This article explores Schubert's distinctive handling of the period theme-type, focusing on a particular kind of period that appears often in his Lieder: the idyllic period. Schubert's idyllic periods are characterized by their symmetry, diatonicism, transparent voice-leading structure, simple piano texture, and association with poems about nostalgia and hopefulness. I analyze three representative idyllic periods in Schubert's late songs: "Am Meer" (looking not only at the song itself, but also at its relation to the other Heine Lieder from Schwanengesang), "So lasst mich scheinen" and "Am Fenster." Collectively, these analyses reveal the diverse but related expressive connotations of this theme-type in Schubert's music. Moreover, they suggest that Schubert's musical evocations of naïveté and innocence demand as much scrutiny as his most radical experiments with tonality and form. [ABSTRACT FROM AUTHOR]

Most commentators have been content to accept Ravel's claim that the reference to both the Valses nobles (D. 969) and the Valses sentimentales (D. 779) in the title of his Valses nobles et sentimentales (1911) "sufficiently indicates my intention of composing a series of walzes in imitation of Schubert," but this claim does not hold up under scrutiny. Instead, this article seeks to show that the Valses nobles et sentimentales is better understood as a Schumannian piano cycle. As such, the piece is a fascinating attempt at a rapprochement between French Modernism and German Romanticism shortly before the onset of the First World War. [ABSTRACT FROM AUTHOR]

The concept of the sinthome (or 'sinthom' in English) - the construction which provides a unique structuring of jouissance, but which is divested of any symbolic meaning - arrived late in Lacan's work, in his seminar on 1975-6. The sinthom's most notable application in Žižek's output is found in Part I of his The Sublime Object of Ideology, in which he explores the homology between the form of commodities and of dreams. It has since been used widely in discussions of literature, art, and cinema, but is missing from musicology, aside from the occasional remark from Žižek himself. This paper demonstrates that the medial caesura which deflects the tonal trajectory of a sonata exposition, and not the themes themselves, should be identified as the locus of this aspect of Schubert's compositional voice. Drawing on ideas emerging from Žižek's critique of Hitchcock, the aim is to demonstrate how the Lacanian concept of the sinthom reveals a deeper, more fundamental intertextuality in Schubert's compositional project than has hitherto been available. [ABSTRACT FROM AUTHOR]

At the beginning of Wolfgang Rihm’s career, a few compositions are inspired by Franz Schubert. In his texts, Rihm never devoted an essay exclusively to Schubert: the composer is only mentioned in relation to other subjects, such as a comparison with Beethoven, for instance. Other composers, such as Beethoven, Schumann, and Brahms, received more attention in Rihm’s music and his texts. Schubert as inspiration, as allusion not quotation, stays present until today. In this essay the multiple kinds of relationship between Rihm and Schubert are researched, not only in theLieder, but, with reasons which will be explained, more in Schubert’s instrumental music. [ABSTRACT FROM PUBLISHER]

This article reexamines two common views of Schubert's three-key expositions: one that contends the third key is presented in the context of thematic formal function, another that asserts this section's function is non-thematic. Considering texture as an important determinant of formal function, these two views are assessed using a computational model of texture. Applying this model to a corpus of two-key expositions from the late eighteenth century, I demonstrate that certain textures tend to be associated with thematic function more than others. This model is then used to determine the presence of thematic and non-thematic textures in three of Schubert's three-key expositions and the extent to which the two views of the formal function of the third key make sense. [ABSTRACT FROM AUTHOR]

Carl Zelter, Carl Loewe, Franz Schubert, and Franz Liszt all composed settings of Goethe's famous Nachtlied "Uber alien 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 human mortality. [ABSTRACT FROM AUTHOR]

Dream and love represent experiences which, under certain conditions and within certain limits, can be mutually compared. Both of them reflect, in fact, a structure of depossession and derealization, in which subject and the present find themselves deprived of their primacy. Dream and love represent, in the last analysis, a secret both banal and ordinary, universal and public, that continues to put in question the very nature of what we call truth.

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 approaching death – and his strange ways of experiencing the world; neither by composer’s acceptance of impious beliefs hidden in Müller’s poems. The author argues that both poet and composer of Winter journey shared the affinity for the wandering (and wanderer) motive which was one of the central topics in the rising romantic Weltanschauung. Schubert was dealing with this motive from 1815 until his death mainly in his lieder, sometimes in very complex manner. In order to understand the real nature of Schubert’s artistic rapprochement to the motive of wandering, the author was obliged to consider and, at the first place, evaluate the works of scholars (such as Theodor Adorno, David Gramit, and Jeffrey Perry) who have been dealing with this problem. After that the author focuses her attention to the narrative entitled My dream, the most extensive and enigmatic writing left behind Schubert; she analyses the role of wandering in it, arguing that Schubert was participating in the spiritual currents of his time even unconsciously and trying to adapt them in order to serve as the solutions to his own existent ional dilemmas. Finally, she concludes that the composer was very sensitive for the complexity of the phenomena of wandering, when romantic Weltanschauung was at its peak, and eager to come to terms with this complexity artistically, paying the most attention to one of its layers – the regenerative one.