Academic literature on the topic '1797-1828 Sonatas'

Until recently, Schubert's sonata forms have been treated as the partially successful products of a classicist who often misunderstood his models. The development of sonata form in his early string quartets, though, raises serious questions about such a view. The quartets (ca. 1810 to 1816), constitute the composer's first concentrated work in large-scale instrumental music and include some of his earliest compositions in any genre. The first sonata-form movements all lack the most basic features of the structure, specifically a clearly delineated subordinate theme and subordinate key in the exposition. The evolution of Schubert's sonata form from 1810 to 1816 consists of an expansion to encompass such necessary tonal and thematic contrast. This process, however, does not lead to a close imitation of the Classical prototype but rather to a highly original reinterpretation of the form. By the end of 1814, many of the distinctive tendencies in his writing are already evident. These include (1) unusual modulatory strategies dependant upon tonal ambiguity and surprise, (2) the first signs of an intensely lyrical quality in the thematic material, (3) complementary, as opposed to derivative, thematic relationships, in which the musical discourse is divided between two contrasting motivic regions connected by underlying harmonic links and (4) a widespread allusiveness in his handling of harmony, which allows an initial harmonic event or "sensitive sonority" to become increasingly significant as the music proceeds. Ultimately Schubert's innovative approach to sonata form, while weakening the Classical attributes of clarity and conciseness, infuses a new atmosphere into the structure, making it the perfect vehicle for the expression of Romantic sentiment.

Le début du dix-neuvième siècle constitue pour la musique allemande une transition entre deux âges successifs de la conscience harmonique, l’âge de la quinte - ou le classicisme - et celui de la tierce - ou le romantisme. L'œuvre de Franz Schubert représente la première tentative en vue de structurer la forme musicale au moyen de l'utilisation de progressions de tierces a tous les niveaux de celle-ci, sauvegardant toutefois le rapport fondamental de quinte essentiel à la sonate. L'émergence de nouveaux modèles structurels est ainsi mise en évidence, en même temps que se trouve proposée une typologie des développement à partir de leur structure tonale. Présentant une analyse exhaustive de l'œuvre instrumental schubertien à travers sa dimension harmonique, la thèse pose les jalons d'une étude de son nécessaire complément, la dimension architecturale de la forme
The first decades of the nineteenth century saw a period of transition between two successive periods of harmonic consciousness in german music, the age of the fifth - or classicism - and that of the third - or romanticism. Schubert's output represents the first attempt at organizing musical form through the use of third-progressions at all structural levels, while preserving the fundamental fifthrelationship which is essential to the sonata. This thesis both brings to the fore the emergence of new formal models and proposes a classification of development sections according to their tonal structure. It also provides an exhaustive analysis of the harmonic dimension of schubert's instrumental works, laying the foundations for a further study of its necessary complement, the architectural dimension of form

Franz Peter Schubert (1797-1828) began composition of the Sonata in C Major, D. 840 (“Reliquie”) during April of 1825. It was first published in Leipzig in 1861 and dubbed the “Reliquie” by the publisher K.F. Whistling, based on the mistaken assumption that it was Schubert’s last piano sonata. Following the complete Moderato and Andante movements, Schubert left the Minuetto: Allegretto and Rondo: Allegro movements unfinished. The primary purpose of this treatise is to compare and contrast the published completions of the unfinished Minuetto: Allegretto and Rondo: Allegro movements as finished by Ludwig Stark, Ernst Krenek, Walter Rehberg, Harold Truscott, Armin Knab, Paul Badura-Skoda, Dieter Einfeldt, Noël Lee, Martino Tirimo, Geoffrey Poole and Brian Newbould.
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