Relevant bibliographies by topics / Instrumental music (Schubert, Franz)

Academic literature on the topic 'Instrumental music (Schubert, Franz)'

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Published: 25 July 2024
Last updated: 31 July 2024

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Journal articles on the topic "Instrumental music (Schubert, Franz)"

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Perry, Jeffrey. "The Wanderer's Many Returns: Schubert's Variations Reconsidered." Journal of Musicology 19, no. 2 (2002): 374–416. http://dx.doi.org/10.1525/jm.2002.19.2.374.

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Franz Schubert composed four instrumental movements that form a distinct repertoire: the "Trout" Quintet D. 667/iv; the Octet D. 803/ iv; Piano Sonata in A minor, D. 845/ii; and the Impromptu in B-flat, D. 935/iii. Each of them comprises a set of variations on a major-key theme. Each includes (not unexpectedly) one variation in the parallel minor and (more remarkably) a variation in VI followed by a retransition leading to a dominant interruption that prepares the final tonickey variation. Examination of these movements reveals the intimate relationship and common derivation of variation set, sonata form, character piece, Lied, and aria in Schubert. Schubert's formal integrations are made in the service of a Romantic sensibility of distance, loss, memory, and regret. He joins musical aspects of distance (from the theme, from a home key, from a home register) to distance in its poetic aspects: from the past, from home, from old loves and places. Schubert not only continues the 18th-century tradition of musical depictions of distance, he transforms and expands them in unprecedented ways. The result is a poignant intersection of formal innovation and musical poetics.
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Hettrick, William E. "Johann Herbeck’s Edition of Choral Works by Franz Schubert: History and Analysis." Nineteenth-Century Music Review 16, no. 3 (September 5, 2018): 349–82. http://dx.doi.org/10.1017/s1479409818000010.

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Johann Herbeck (1831–1877) served in his native Vienna as conductor of the leading choral and instrumental organizations. He showed his devotion to the legacy of Franz Schubert in his performances and also in his edition, published by C.A. Spina and successors, of 51 selected works of the master for men’s, women’s and mixed chorus. Originally conceived as part-songs for ensembles of soloists, this repertoire had become choral music by Herbeck’s time. Included also are arrangements by Herbeck and others of pieces originally written for different performing media. Surviving copies of numbers in the edition, as well as two additional publications, reveal startling inconsistencies in editorial technique, ranging from a lack of intervention to a much freer approach, including liberal sprinkling of unauthentic markings and other deviations from the originals. In the latter category, the editor’s additions may be said to document the performance practice of these works during his time. His choice of sources was also inconsistent, in some cases resulting in faulty versions of the works presented. This study also documents the production and reception history of Herbeck’s edition.
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Sobaskie, James William. "The ‘Problem’ of Schubert's String Quintet." Nineteenth-Century Music Review 2, no. 1 (June 2005): 57–92. http://dx.doi.org/10.1017/s1479409800001567.

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Eschewing the polemic surrounding Franz Schubert's private life, as well as the habit of judging his art by Beethovenian criteria, many musicians now have chosen to focus on unique aspects of the composer's œuvre in order to illuminate its distinctive aesthetic values. In particular, some have sought to isolate and explain contextual processes responsible for compelling perceptions of drama and unity in Schubert's later instrumental works. The objects of their inquiries consist of progressive sequences of internally defined musical elements, relations and events that confer effects of internal momentum and comprehensive coherence on Schubert's music. These contextual processes complement tonal, formal and thematic procedures in Schubert's compositions and reveal an ingenious artist engaged in a restless search for new ways of organizing music.
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Lee, M. Owen. "Fierrabras. Franz Schubert." Opera Quarterly 8, no. 2 (1991): 179–81. http://dx.doi.org/10.1093/oq/8.2.179.

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Jellinek, George. "Fierrabras. Franz Schubert." Opera Quarterly 8, no. 4 (1991): 137–38. http://dx.doi.org/10.1093/oq/8.4.137.

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Rast, N. "Franz Schubert: Music and Belief." Music and Letters 87, no. 3 (August 1, 2006): 439–41. http://dx.doi.org/10.1093/ml/gci241.

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Kramer, Richard. "Posthumous Schubert: Drei grosse Sonaten fur das Pianoforte . Franz Schubert. ; Der Graf von Gleichen . Franz Schubert, Ernst Hilmar." 19th-Century Music 14, no. 2 (October 1990): 197–216. http://dx.doi.org/10.1525/ncm.1990.14.2.02a00060.

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Solomon, Maynard. "Schubert: Family Matters." 19th-Century Music 28, no. 1 (2004): 3–14. http://dx.doi.org/10.1525/ncm.2004.28.1.3.

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Certain anomalous events in the history of Franz Schubert's family raise the possibility that he and his family inhabited a more tumultuous and conflict-ridden domestic universe than has been suspected. Among these are a series of painful losses in his mother's early life, the out-of-wedlock conception of Schubert's eldest brother, Ignaz, and Ignaz's subsequent omission from a schedule of heirs to some family property, along with his extended relegation to the lowly post of assistant teacher for more than a quarter century, until the death of his father, Franz Theodor Schubert, in 1830. In the background of these anomalies is the young Franz Theodor's unexpectedly rapid rise to prosperity in his profession, in which he and his sons had the decisive support of Bishop Josef Spendou, Vienna's superintendent of elementary schools, who was regarded as their "benefactor." Spendou's remarkably extensive devotion to the family's interestsÑincluding supplying a "scholarship" for Ignaz and a valued schoolteacher's post for young FerdinandÑopens for inspection several possibilities--that he may have been Ignaz's biological father, and that he and Schubert's parents may have entered into an arrangement whereby he furnished material and professional support to them in exchange for their raising his son as their own. Ultimately, when Franz Theodor died, Ignaz became the sole inheritor of the family's prosperous school, perhaps thereby closing the circle of pledges and obligations that bound Bishop Spendou and the Schuberts together. Left unexamined here are the potential reactions of Schubert and his siblings to their presumed knowledge of these veiled arrangements.
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Rast, N. "Franz Schubert: Das fragmentarische Werk." Music and Letters 87, no. 3 (August 1, 2006): 437–39. http://dx.doi.org/10.1093/ml/gci239.

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Rastl, Peter. "Schubert-Liedertexte." Die Musikforschung 71, no. 2 (September 22, 2021): 166–73. http://dx.doi.org/10.52412/mf.2018.h2.305.

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Anhand der Recherche bisher unbekannter Textquellen wird für Franz Schuberts Vokalmusik illustriert, welche Möglichkeiten die literarische Quellenforschung durch die bereits digitalisierten Quellen möglich sind. So können einige der bisher offenen Fragen über Textdichter und Textquellen beantwortet werden. bms online (Cornelia Schöntube)
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Dissertations / Theses on the topic "Instrumental music (Schubert, Franz)"

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Biancolino, Ticiano [UNESP]. "A evocação de sonoridades instrumentais na escrita para piano no ciclo Winterreise de Franz Schubert." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/95120.

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Made available in DSpace on 2014-06-11T19:27:26Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-06-27Bitstream added on 2014-06-13T19:56:12Z : No. of bitstreams: 1 biancolino_t_me_ia.pdf: 8518794 bytes, checksum: e0883b41634079e4cc679ac8ef255b1d (MD5)
Os escritos estéticos dos autores do Frühromantik (Primeiro Romantismo), surgidos a partir das duas últimas décadas do século XVIII, constituíram a base do pensamento do Romantismo musical alemão. De vital importância dentro desta nova concepção estética foi o entendimento da música instrumental como a manifestação mais nobre das artes, algo que ia contra o preceito que vigorara até então, segundo o qual a música sem voz possuía pouco valor, por ser incapaz, apenas por meio de sons, de imitar o mundo físico e despertar sentimentos nos ouvintes. Paralelamente a esse processo, o piano - cujos primeiros modelos bem sucedidos surgiram entre 1698 e 1730 - ganhou maior repertório no último quarto do século XVIII e, ao mesmo tempo, passou a ser utilizado como substituto de formações instrumentais maiores, em reduções de sinfonias e óperas. Este trabalho trata da importância que os fenômenos de valorização da música instrumental, da formação da linguagem do piano e da utilização deste instrumento enquanto redutor da orquestra exerceram no aparecimento do Lied em princípios do século XIX, um gênero híbrido entre música e poesia e entre música vocal e música instrumental, que se contrapôs à tradição da canção estrófica setecentista. Mais especificamente, esta pesquisa investiga em qual medida a composição da parte do piano do ciclo de canções Winterreise (1827) de Franz Schubert foi realizada sobre a idéia de evocação de sonoridades de outros instrumentos, tomando por base similaridades de escrita entre determinadas passagens da obra de Schubert e aquelas retiradas de obras sinfônicas e de câmara, do próprio Schubert e de outros compositores que representaram grandes influências suas, especialmente Haydn, Mozart e Beethoven.
The aesthetic writings by Frühromantik (Early Romantic) authors, which appeared during the last decades of the eighteenth century, became the basis of German musical conception of Romanticism. Fundamentally important that new aesthetic idea was the undestanding of instrumental music as the noblest manifestation of arts, which was against the old precept that music without singing was worthless, as it was incapable of imitating the physical world and reviving the listener's sentiments. Simultaneously, the repertoire for piano - which early successful model appeared between 1698 and 1730 - was substantially increased during the last quarter of the eighteenth century and, at the same time, gradually started to be used as a substitute for larger instrumental groups, and reductions of symphonies and operas. The present work discusses how the phenomena of instrumental music valorization, piano idiom formation and its use as a substitute for an orchestra (piano reduction) influenced the advent of Lied at the beginning of the nineteenth century - a hybrid genre between music and poetry - and between vocal and instrumental music, in opposition to the eughteenth century strophic song tradition. More specifically, this research examines how much of the piano accompaniment of Fraz Schubert's song cycle Winterreise (1827) was based on the idea of the evocation of the sonorities of other instruments, using as evidence stylistic similarities between some of the passages from Schubert's works and those extracted from symphonic and chamber pieces - by both Schubert himself and other composers, notably his major influences: Haydn, Mozart and Beethoven.
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Biancolino, Ticiano. "A evocação de sonoridades instrumentais na escrita para piano no ciclo Winterreise de Franz Schubert /." São Paulo : [s.n], 2008. http://hdl.handle.net/11449/95120.

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Orientador: Marcos Fernandes Pupo Nogueira
Banca: Lia Vera Thomás
Banca: Sidney Molina
Resumo: Os escritos estéticos dos autores do Frühromantik (Primeiro Romantismo), surgidos a partir das duas últimas décadas do século XVIII, constituíram a base do pensamento do Romantismo musical alemão. De vital importância dentro desta nova concepção estética foi o entendimento da música instrumental como a manifestação mais nobre das artes, algo que ia contra o preceito que vigorara até então, segundo o qual a música sem voz possuía pouco valor, por ser incapaz, apenas por meio de sons, de imitar o mundo físico e despertar sentimentos nos ouvintes. Paralelamente a esse processo, o piano - cujos primeiros modelos bem sucedidos surgiram entre 1698 e 1730 - ganhou maior repertório no último quarto do século XVIII e, ao mesmo tempo, passou a ser utilizado como substituto de formações instrumentais maiores, em reduções de sinfonias e óperas. Este trabalho trata da importância que os fenômenos de valorização da música instrumental, da formação da linguagem do piano e da utilização deste instrumento enquanto redutor da orquestra exerceram no aparecimento do Lied em princípios do século XIX, um gênero híbrido entre música e poesia e entre música vocal e música instrumental, que se contrapôs à tradição da canção estrófica setecentista. Mais especificamente, esta pesquisa investiga em qual medida a composição da parte do piano do ciclo de canções Winterreise (1827) de Franz Schubert foi realizada sobre a idéia de evocação de sonoridades de outros instrumentos, tomando por base similaridades de escrita entre determinadas passagens da obra de Schubert e aquelas retiradas de obras sinfônicas e de câmara, do próprio Schubert e de outros compositores que representaram grandes influências suas, especialmente Haydn, Mozart e Beethoven.
Abstract: The aesthetic writings by Frühromantik (Early Romantic) authors, which appeared during the last decades of the eighteenth century, became the basis of German musical conception of Romanticism. Fundamentally important that new aesthetic idea was the undestanding of instrumental music as the noblest manifestation of arts, which was against the old precept that music without singing was worthless, as it was incapable of imitating the physical world and reviving the listener's sentiments. Simultaneously, the repertoire for piano - which early successful model appeared between 1698 and 1730 - was substantially increased during the last quarter of the eighteenth century and, at the same time, gradually started to be used as a substitute for larger instrumental groups, and reductions of symphonies and operas. The present work discusses how the phenomena of instrumental music valorization, piano idiom formation and its use as a substitute for an orchestra (piano reduction) influenced the advent of Lied at the beginning of the nineteenth century - a hybrid genre between music and poetry - and between vocal and instrumental music, in opposition to the eughteenth century strophic song tradition. More specifically, this research examines how much of the piano accompaniment of Fraz Schubert's song cycle Winterreise (1827) was based on the idea of the evocation of the sonorities of other instruments, using as evidence stylistic similarities between some of the passages from Schubert's works and those extracted from symphonic and chamber pieces - by both Schubert himself and other composers, notably his major influences: Haydn, Mozart and Beethoven.
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Hyland, Anne Margaret. "Tautology or teleology? : towards an understanding of repetition in Franz Schubert's instrumental chamber music." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609771.

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Bjurström, John. "Skriva improvisationsmusik med Franz Schubert." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2814.

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During this project I have studied piano music by Franz Schubert (1797-1828) to thereafter use a couple of his harmonic structures as a foundation for composing music for piano trio. To write music that encourages improvisation and interaction between the band members has been a central focus while the broad goal of the project has been to develop myself as a musician and person. The project started in the fall of 2017, a senior recital was performed in Lilla Salen at KMH the 28th of February and was followed by time for reflection which can be found documented in my paper.             Something I wanted to try with this project was to create according to a partially predetermined method. I wanted Schubert’s music to have an impact on my compositions and from there I decided to transcribe harmonic structures on four of his works to rework these into new compositions. I hoped that this method would bring a forward motion to the work and in retrospect I believe it did. Composing with a few guidelines contributed with a sense of comfort to the process and made me stay on track through passages of low inspiration.             Reflecting on my work I feel that it became a good closure to my studies at KMH. A hybrid process showcasing different musical expressions, skills and sides to my personality with a work method that felt exciting.

Examenskonsert

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Mussard, Timothy S. "Embellishing Schubert's Songs : a performance practice /." Thesis, Connect to this title online; UW restricted, 1987. http://hdl.handle.net/1773/11217.

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Madsen, Charles Arthur. "The Schubert-Liszt transcriptions : text, interpretation, and Lieder transformation /." view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3080592.

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Thesis (Ph. D.)--University of Oregon, 2003.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 477-487). Also available for download via the World Wide Web; free to University of Oregon users.
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Meggison, Natalie Rebecca. "Situating Schubert's Ossian settings, music, literature, and culture (Franz Schubert, Austria)." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ60383.pdf.

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HAM, INA. "FRANZ SCHUBERT'S IMPROMPTUS D.899 AND D.935: AN HISTORICAL AND STYLISTIC STUDY." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1114981145.

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Kim, SeonJu. "Challenges faced by modern violists when preparing the F. Schubert Arpeggione sonata for performance /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/11422.

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Enhamre, Sebastian. "Franz Schubert: Sonat i a-moll, D 845 - En tolkning." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3459.

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Denna kandidatuppsats handlar om den österrikiske tonsättaren Franz Schubert (1797 - 1828) och hans pianosonat i a-moll, D 845. Mer specifikt har sonaten i fråga analyserats, med syftet att göra en tolkning av den i synnerhet och Franz Schuberts konstnärskap i allmänhet, utifrån ett perspektiv där Schuberts roll och relation till musikhistorien och idéhistorien undersöks. För att få bättre förståelse för musiken har Schuberts liv, samt några av hans sånger och idéer som kan ha påverkat honom, studerats. Jag har även gjort en analys av verkets fyra satser, där jag tittat på sonatens genomgående teman och motiv. På så sätt har jag försökt tolka musikens underliggande mening. Förhoppningen är att kunna skapa inblick i Schuberts mänskliga erfarenhet och en medvetenhet om vad han vill säga med sin musik, samt att detta ska hjälpa mig i min förståelse och tolkning av musiken. Intentionen är också att det ska vara till hjälp för alla som önskar ta del av Schuberts musik mer på djupet eller låta sig inspireras av den. Resultatet av undersökningen har inneburit en djupare förståelse för Schuberts musik, och i synnerhet för just denna sonat.
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Books on the topic "Instrumental music (Schubert, Franz)"

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Michael, Raab. Franz Schubert: Instrumentale Bearbeitungen eigener Lieder. München: W. Fink, 1997.

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1952-, Jando? Jeno?, Verhey Emmy, Dechenne Danielle, Fischer Adam 1949-, Kovacs Janos 1951-, Budapesti Vonosok, Colorado Quartet, Magyar Allami Operahaz Zenekar, and Filharmoniai Tarsasag (Budapest Hungary), eds. Masters of classical music: Vol. 9 : Franz Schubert. Los Angeles, CA: LaserLight, 1988.

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M, Reul Barbara, and Bodley Lorraine Byrne 1968-, eds. Unknown Schubert. Aldershot, Hants, England: Ashgate, 2008.

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Brinkmann, Reinhold. Franz Schubert, Lindenbäume und deutsch-nationale Identität: Interpretation eines Liedes. Wien: Picus, 2004.

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1936-, Newbould Brian, ed. Schubert studies. Aldershot, Hants, England: Ashgate, 1998.

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Klaus, Stahmer, ed. Franz Schubert und Gustav Mahler in der Musik der Gegenwart. Mainz: Schott, 1997.

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1935-, Hackenbracht Elisabeth, and Internationale Hugo-Wolf-Akademie für Gesang, Dichtung, Liedkunst e.V. Stuttgart., eds. 1797-1997: Der Flug der Zeit : Franz Schubert : ein Lesebuch. Tutzing: H. Schneider, 1997.

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author, Uhde Jürgen, ed. Schubert: Späte Klaviermusik : Spuren ihrer inneren Geschichte. Kassel: Bärenreiter, 2014.

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Franz Schubert and the Music of Modernity (Competition) (6th 2006 Universität für Musik und Darstellende Kunst Graz). Franz Schubert und die Musik der Moderne: Dokumentation : 6. Internationaler Wettbewerb, 15.-24.2.2006 = Franz Schubert and the music of modern times : documentation : 6th international competition, 15.-24.02.2006. Graz: Universität für Musik und darstellende Kunst, 2007.

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1936-, Newbould Brian, ed. Schubert the progressive: History, performance practice, analysis. Aldershot, Hants, England: Ashgate, 2003.

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Book chapters on the topic "Instrumental music (Schubert, Franz)"

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Black, Brian. "Lyricism and the Dramatic Unity of Schubert’s Instrumental Music:." In Drama in the Music of Franz Schubert, 233–56. Boydell & Brewer, 2019. http://dx.doi.org/10.2307/j.ctv6jm9rg.18.

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Davies, Joe. "Stylistic Disjuncture as a Source of Drama in Schubert's Late Instrumental Works." In Drama in the Music of Franz Schubert, 303–30. Boydell and Brewer Limited, 2019. http://dx.doi.org/10.1017/9781787444393.015.

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Davies, Joe. "Stylistic Disjuncture as a Source of Drama in Schubert’s Late Instrumental Works." In Drama in the Music of Franz Schubert, 303–30. Boydell & Brewer, 2019. http://dx.doi.org/10.2307/j.ctv6jm9rg.21.

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Davies, Joe. "13 Stylistic Disjuncture as a Source of Drama in Schubert’s Late Instrumental Works." In Drama in the Music of Franz Schubert, 303–30. Boydell and Brewer, 2019. http://dx.doi.org/10.1515/9781787444393-019.

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Black, Brian. "Lyricism and the Dramatic Unity of Schubert's Instrumental Music: The Impromptu in C Minor, D. 899/1." In Drama in the Music of Franz Schubert, 233–56. Boydell and Brewer Limited, 2019. http://dx.doi.org/10.1017/9781787444393.012.

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Black, Brian. "10 Lyricism and the Dramatic Unity of Schubert’s Instrumental Music: The Impromptu in C Minor, D. 899/1." In Drama in the Music of Franz Schubert, 233–56. Boydell and Brewer, 2019. http://dx.doi.org/10.1515/9781787444393-016.

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"FRANZ SCHUBERT." In The Classical Music Lover's Companion to Orchestral Music, 661–77. Yale University Press, 2018. http://dx.doi.org/10.2307/j.ctv9b2wqr.54.

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"Franz Schubert (1797–1828)." In The Classical Music Lover's Companion to Orchestral Music, 661–77. Yale University Press, 2019. http://dx.doi.org/10.12987/9780300242720-052.

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McKay, Elizabeth Norman. "La Dolce Vita (1820-1822)." In Franz Schubert, 99–132. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198165231.003.0005.

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Abstract With reliable and supportive friends like Josef von Spaun, Johann Mayrhofer, and Anselm Hiittenbrenner, and influential patrons of the calibre of Johann Michael Vogl and Ignaz Sonnleithner, the outlook for Schubert at the start of 1820 was promising indeed. Helped by his friends, his reputation in musical circles was growing, particularly as a composer of songs, but also of orchestral and church music; and by the end of 1820 he had already made some impression in Vienna with his music for the theatre. In 1821 he was to enjoy remarkable advances in his profession, with more, and some prestigious, concert performances of his music, publications, and press reviews and notices. By the end of 1822 his situation had changed totally. Composers, like all creative artists, need both stimulation and solitude. Schubert’s closest friends understood this. They knew when it was necessary for him to be alone, and they were ready when he needed them to listen to his latest compositions, to discuss poetic texts, to share his current concerns, or just to relax with him and enjoy his company.
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McKay, Elizabeth Norman. "Success and Sickness (1828)." In Franz Schubert, 291–318. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198165231.003.0011.

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Abstract IF Schubert’s health was causing concern during 1828, there are no recorded references to illness or indisposition until he moved to his brother’s new apartment early in September. To what extent his family and friends were aware of his sickness before this must remain conjectural. To all intents and purposes, and apart from the persistent headaches and later giddiness, which a few of his friends do seem to have known about, he appeared to be reasonably fit and leading a normal life. Further retrospective comments, however, suggest that he was to some degree neglecting himself, spending a lot of time on his own (apparently distancing himself from old friends), sometimes negligent or unreliable (or both) in relationships, drinking heavily, and perhaps indulging in unsavoury sexual activities. Outstanding and influential events of the year included his benefit concert of his own music on 26 March and the betrothal and marriage of Josef von Spaun. If Schubert was spending less time with the usual old friends of the Spaun and Schober circle, he was obviously with musician colleagues and friends more than ever before.
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Conference papers on the topic "Instrumental music (Schubert, Franz)"

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Deisinger, Marko. "Fortschrittliche Technologie im Dienste eines Antimodernisten. Heinrich Schenker und der österreichische Rundfunk." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.52.

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The Viennese music theoretician Heinrich Schenker opposed modernity during his entire life. At first, this opposition applied to new technologies as well. Despite his skepticism, he purchased a radio shortly after the Austrian Broadcasting Corporation (RAVAG) started broadcasting in October 1924 and soon became an avid radio listener. Schenker quickly grasped the advantages of this new transmission medium and used it to further his own interests, aided by personal contacts with the RAVAG. In 1928, his associate Otto Erich Deutsch delivered a radio lecture co-authored with Schenker about the goals of the “Archive for Photograms of Musical Master Manuscripts” which was founded at Schenker’s instigation. In 1934, the RAVAG sponsored a competition, awarding the best text to a song fragment by Franz Schubert which in turn was discovered by Deutsch. Since the textless fragment lacks the final measures, Schenker had previously composed an ending for the song which was also performed on the radio.
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