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Journal articles on the topic 'Schubert'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

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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2

Wyciślik, Karolina. ">>Cudownie nieartykułowana mowa dźwięków<<. Muzyczno-literacki motyw lipy w pieśni piątej z „Winterreise” Franza Schuberta i „Der Lindenbaum” Wilhelma Müllera w przekładzie Stanisława Barańczaka." Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica 8 (December 23, 2020): 272–85. http://dx.doi.org/10.24917/23534583.8.17.

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W 1827 roku Franz Schubert wydał cykl pieśni Winterreise. Z kolei 167 lat później Stanisław Barańczak opublikował tom Podróż zimowa. Wiersze do muzyki Franza Schuberta. Romantyczna pieśń zapoczątkowana przez austriackiego kompozytora dała nową sposobność do przekazania ekspresji poprzez słowo śpiewane i towarzyszącą muzykę. Artykuł na podstawie Pieśni V, zatytułowanej Der Lindenbaum (Lipa), przedstawia korelacje zachodzące na płaszczyźnie między Schubertem, Wilhelmem Müllerem a Barańczakiem. Jest to jedyny wiersz w cyklu, który Barańczak przełożył z języka niemieckiego. Powstające we wspólnym muzyczno-literackim obszarze sensy autorka lokuje w różnych systemach znaczeniowych: tekstu literackiego, możliwych sytuacjach intertekstualnych oraz istnienia dzieła literackiego wobec muzyki, i odpowiada na pytanie, jak w tej sytuacji topika drzewa znaczy w wierszu Barańczaka połączonym z muzyką Schuberta.

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3

Eppstein, Hans. "Schütz - Schubert - Hugo Wolf." Schütz-Jahrbuch 7 (August 18, 2017): 62–68. http://dx.doi.org/10.13141/sjb.v1986689.

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1967 charakterisierte Thrasybulos Georgiades in seinem Aufsatz "Schubert und Schütz" die beiden Komponisten als Eckpfeiler deutscher Musik, in denen die Verbindung von Musik mit gesprochenem Wort kulminiert. Die Entwicklung, die Georgiades an dieser Stelle von Schütz zu Schubert zieht, kann weitergezogen werden bis zu Wolf. Denn die Qualität und Einzigartigkeit der Wolfschen Lieder werden durch ein tiefgreifendes Verständnis des Komponisten für die vertonten Texte begründet, das - trotz einiger Unterschiede - mit Schuberts Textgefühl verglichen werden kann.

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Carbó, Ferran. "Franz Schubert en Màrius Torres." Studia Romanica Posnaniensia 48, no. 3 (October 14, 2021): 19–34. http://dx.doi.org/10.14746/strop.2021.483.002.

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This study reviews the presence of the composer Franz Schubert in five poems by Màrius Torres. These texts were written between 1933 and 1938, while Torres consolidated and evolved as a poet. The writer from Lleida performed musical scores with the piano and the Austrian composer, through his Lieder, became a model, something that is evident in the different ways in which transtextuality is present, not only between the songs’ lyrics and Torres’ poems, but also between the musical compositions and these same poems. This study analyzes how, on the one hand, Schubert’s Lieder “Der Erlkönig” and “Der Tod und das Mädchen”, with texts by Johann Wolfgang Goethe and Matthias Claudius respectively, work as a starting point – or hypotext – for three poems by the Catalan poet, “El rei dels verns”, “La Mort i el Jove” and “Paraules de la Mort”, thus converted into hypertexts. On the other hand, Torres’ two poems “Adverbis de Schubert” and “Mai” refer to the Austrian composer from the intertextual relationship with the poem “Jamais” by Alfred de Musset. At the same time Torres mentions Schubert and the Lied “Ständchen” with text by Ludwig Rellstab in “Adverbis de Schubert”, but the Catalan poet hides Schubert’s copresence in “Mai”.

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5

Leppert, Richard. "On Reading Adorno Hearing Schubert." 19th-Century Music 29, no. 1 (2005): 056–63. http://dx.doi.org/10.1525/ncm.2005.29.1.56.

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Adorno's "Schubert" textually reenacts what he recognizes in Schubert's music, repeating himself but with subtle differences, as though he were holding up a cut gem to light and turning it to see the differences manifested in its facets. Adorno's ideas about this music are less developed than juxtaposed, often paratactically, so as to constitute what Benjamin termed a constellation. What Adorno hears in Schubert is a kind of reciprocity toward otherness. Schubert's "landscape," for Adorno, is grounded in the realm of the cultural imaginary; it represents for him a declaration of love, defined by the difference between subject and object that engenders embrace, rather than domination. The aesthetic truth of Schubert's music doesn't emerge through development, except, ironically perhaps, in the "successful" failure of his developments. Instead, it's articulated in a virtual instant, as in the shape and turn of a melody (and distinctly not in its working out). The Schubert melody is like the imagined perfection of landscape--as though, like "nature," it were always already complete. The C-minor Andante of the Piano Trio in Eb (op. 100, D. 929) is a case in point. The opening melodic statement in the cello and the folklike second theme in the violin, for the most part, can only be repeated, not improved upon, though Schubert tries--the melodic perfection of the opening statements, the first theme especially, becomes unambiguously evident only when the movement ends. We need everything that follows the initial statements to realize what we first heard: a melody (more than a theme) complete in itself, perfect, and on that account acoustically utopian--a semblance of happiness embedded in the sad honesty of C-minorÕs pensive melancholy.

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6

Sugden, Robert. "OPPORTUNITY AND PREFERENCE LEARNING: A REPLY TO CHRISTIAN SCHUBERT." Economics and Philosophy 31, no. 2 (May 7, 2015): 297–303. http://dx.doi.org/10.1017/s0266267115000140.

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Abstract:This paper replies to Christian Schubert's critical review of my work on opportunity as a normative criterion. Schubert argues that the criterion I have proposed would not command general assent because it does not recognize the legitimacy of individuals’ preferences for achieving self-development by constraining their future opportunities. I argue that my account of the ‘responsible agent’ is compatible with self-development, and that preferences for self-constraint are less common than Schubert suggests. For the purposes of normative economics, my opportunity criterion is much more generally applicable than Schubert's criterion of ‘opportunity to learn’.

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7

Perrey, Beate. "Exposed: Adorno and Schubert in 1928." 19th-Century Music 29, no. 1 (2005): 015–24. http://dx.doi.org/10.1525/ncm.2005.29.1.15.

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In this close reading of the first page of Adorno's "Schubert," one aim is to highlight the sheer intensity of Adorno's literary ambition, generating a visual poetics that contributes to the text's striking, and daunting, narrative complexity. With reference to the French poet Louis Aragon, Adorno situates Schubert within a distinctly surrealist landscape--a strategic move that is rhetorically as provocative as it is hermeneutically and methodologically risky. I briefly follow up some of this modernist imagery in Schubert's Winterreise, envisioned here as a nondevelopmental, glacial compositional canvas across which the wanderer wanders with a single idea in mind, forever repeated in subtle variations, affecting atmosphere (Stimmung) but not essence: in Winterreise, as Adorno's text suggests, the mind is lost in its own idea, accommodating the pre-human or post-human experience: life-in-death in the midst of an apocalyptic landscape. A second aim of this paper is to respond to Adorno's stylistic provocation: do we need poetry in music criticism, or indeed criticism as poetry? Do we need allegories of death and Utopian landscapes to talk about music? As will be argued, "Schubert" is a text whose author does not deny that his subject matter--Schubert--is, in fact, wholly fictional. Moreover, as Adorno goes on to describe Winterreise as a journey in search of an inner, and de-centered, self, and as we see this journey slowly unfold before our eyes, it becomes more than usually apparent that Adorno's true subject matter is the admission and expression of emotion. With great poetic acumen, his pen traces like a seismograph the rhythmic pulsations and shockwaves traversing Schubert's landscape. Adorno's essay begins with a fully imagined and powerfully articulated landscape, and as he goes on to render "Schubert's landscape" visible, his text takes on a geography that informs us about the structure of the very selves it describes: first Schubert's; then Adorno's; and finally, possibly, our own.

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8

Clark, Suzannah. "A Gift to Goethe: The Aesthetics of the Intermediate Dominant in Schubert’s Music and Early Nineteenth-Century Theoretical Thought." Nineteenth-Century Music Review 13, no. 1 (April 4, 2016): 39–70. http://dx.doi.org/10.1017/s1479409815000518.

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Schubert is famous for his remote modulations, especially his third relations. He therefore has a reputation for harbouring an aversion to the dominant, both in terms of its function as a harmonic preparation for new keys and as a structural pole to the tonic home key. I turn to the history of theory to reveal a more nuanced history of Schubert’s attitude towards the dominant. In a revision of ‘Geistes-Gruß’ (D. 142), a song he sent to Goethe in 1816, Schubert added a brief dominant-seventh chord to soften an abrupt modulation to a remote key. Such an insertion between remote keys was coined an ‘intermediate dominant’ by Schubert’s contemporary Anton Reicha and was understood to be a sufficient preparation for a new remote key. In four subsequent versions of ‘Geistes-Gruß’, Schubert strengthened, rather than weakened, this intermediate dominant – only to remove it altogether in the final published version. I scrutinize Schubert’s use of intermediate dominants that, together with other techniques such as the use of silence, act as a harmonic cushion between abrupt third relations in a range of early multi-sectional songs and in the medial caesura-fill in the Unfinished and Great Symphonies. I compare Schubert’s compositional strategies with the theories of modulation and harmonic juxtaposition by his contemporary music theorists Anton Reicha and Gottfried Weber, and I argue that they share a strikingly similar aesthetic of the power of the intermediate dominant.

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Dunsby, Jonathan. "Adorno's Image of Schubert's Wanderer Fantasy Multiplied by Ten." 19th-Century Music 29, no. 1 (2005): 042–48. http://dx.doi.org/10.1525/ncm.2005.29.1.42.

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AdornoÕs view of Schubert's Wanderer Fantasy is of flawed music. He regards the finale as yet another compositionally disastrous failure by Schubert to know how to round off a sonata or symphony. But he is clearly intrigued by the slow movement's acts of negation and alienation. This article investigates these two crises. First, what is actually--if one may dare ask such a thing--wrong with the finale? That it is all empty mock-fugue and sequence and passage-work? And thus it lacks truth-content? That Schubert is not really composing this finale; it is somehow composing him? Here I investigate analytically what Adorno's "temporal series of atemporal cells" means. Second, how does the slow movement move us from lightness into despair? Death for Schubert, Adorno tells us, is not about pain, but mourning, something Schubert takes us right inside--or to use Adorno's image, through a portal to the underworld (29). I believe that this landscape is also nested within the slow movement of the Wanderer Fantasy. If, as always with variations, the task of the analyst is not so clear here, the task of the (rightly) evidence-bound hermeneut probably is.

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10

Mogoşan, Iulia. "Schubert’s “Tenth”: an Interpretation Between Construction and Restitution." Artes. Journal of Musicology 25, no. 1 (April 1, 2022): 58–81. http://dx.doi.org/10.2478/ajm-2022-0005.

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Abstract In Franz Schubert’s creation the fragment takes on various forms of manifestation, ranging from the fragmentary reception of an already constituted piece to the fragmentary notation, in the form of a sketch, of a work that has not yet been completed. A special place belongs to the Tenth Symphony in D major, D 936A, by Schubert, left unfinished; we received it as a sketch, in a convolute, together with two other unfinished symphonies in the same key: D 615 and D 708A. The present study aims to expose three artistic interpretations of these sketches, materialized in completed musical works, with a distinct approach. The intention of the British composer and conductor Brian Newbould was to finish the symphony in the way that Schubert himself would have done, anchoring the musical ideas from the sketches in the composer’s style. Peter Gülke approached the sketches through the eyes of the researcher and the analyst, with the intention of obtaining their most accurate and authentic reproduction, emphasizing the materialization of some of Schubert’s possible intentions. Finally, Luciano Berio manages in Rendering to musically render the sketches per se, imagining a musical fresco where the concrete musical ideas, written by Schubert, are deliberately mixed with the provisional character of the manuscript.

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Jeremić-Molnar, Dragana. "Wandering Motive and Its Appeal on Reluctantly Wandering Franz Schubert." Issues in Ethnology and Anthropology 8, no. 1 (February 27, 2016): 277. http://dx.doi.org/10.21301/eap.v8i1.13.

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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.

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12

Burnham, Scott. "Landscape as Music, Landscape as Truth: Schubert and the Burden of Repetition." 19th-Century Music 29, no. 1 (2005): 031–41. http://dx.doi.org/10.1525/ncm.2005.29.1.31.

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Adorno's essay on Schubert opens by invoking a fraught move across the threshold that separates the death of Beethoven from the death of Schubert. He goes on to read Schubert's music through a series of dichotomies whose opposite terms are distinctly Beethovenian: Schubert's themes are self-possessed apparitions of truth rather than inchoate ideas that require temporal evolution; his repetitive, fragmentary forms are inorganic rather than organic, crystalline rather than plantlike. Above all, Adorno develops the idea that Schubert's music offers the repeatable truth of a landscape rather than the processive trajectory of a teleological history. Schubert's themes, like landscapes, are forms of permanence that cannot be fundamentally altered but can only be revisited. With special emphasis on Schubert's G-Major String Quartet, this article inflects Adorno's view of Schubert's landscapes by considering how these "truths" also present themselves as illusory and inward (e.g., how some of Schubert's thematic areas can be heard to project a visionary interior space in the way that they suddenly introduce a markedly different realm or the way that they obliquely inhabit their tonal centers). It is then argued that Schubert's music is thus steeped in an existential consciousness for which subjectivity is the only knowable truth. And this truth bears repeating, in the double sense that it can be repeated and it must be repeated.

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Kraśkiewicz, Witold, and Piotr Pragacz. "Schubert functors and Schubert polynomials." European Journal of Combinatorics 25, no. 8 (November 2004): 1327–44. http://dx.doi.org/10.1016/j.ejc.2003.09.016.

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14

Каrachevtseva, Inna. "Stylistic phenomenon of Violin sonatas by Franz Schubert." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 106–25. http://dx.doi.org/10.34064/khnum2-16.06.

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Background. In recent years musicologists revealed an increasing interest in the problem of historical typology of F. Schubert’s composer style. In fact, scholars question possibility to characterize it as romantic, in their turn suggesting another interpretations and characteristics. For instance, M. Brown avoids usage of the term “Romantic” referring to F. Schubert, insisting on him being a part of a Classical tradition. In order to substantiate his viewpoint, the scholar appeals to harmony of the composer, where novelties, according to M. Brown, are not in fact innovations but incredibly skilful incarnation of Classical ideas. More moderate opinion on the discussed problem is stated by Ch. Rosen (2003). While acknowledging “revolutionary” nature of F. Schubert’s harmony, the scholar simultaneously points out a “special status” of the composer in musical art, a status not allowing to apply neither Classical, nor Romantic standards to the works of master. Consequently, as Ch. Rosen says, F. Schubert ended up being “in-between” Classical tradition and Romantic innovations. In his earlier study (1997) abovementioned author uses term “Postclassicism” referring to F. Schubert and other artists of his generation. A collision “F. Schubert – L. van Beethoven” is regarded both by Е.Badura-Skoda (2004) and J. Daverio (2002). The latter one tries to solve it while regarding it through prism of R. Schumann’s observation on this problem. Thus, it is obvious that reception of F. Schubert’s style as typologically ambiguous has a long-lasting history dating back to Romantic era. This intrigue can be found in researches of XX century as well. For example, phenomenon of style of F. Schubert’s chamber works has become a topic of P. Wolfius’ rumination, who defined it as “intermediate” (1974). Mentioned above works of the last third of XX century and beginning of XXI century prove relevance of the problem of historical typology of F. Schubert’s composer style for modern musicology. This calls for its further development through analytical studying of musical material while using historically-typological method of research. In the given aspect, special attention should be drawn to early works by composer, including four Violin sonatas. Objectives. The goal of this paper is to comprehend stylistic phenomenon of these works as a result of mixture of Classical experience gained by F. Schubert and first signs of his oncoming individual view on the essence of music and sound. Methods. In order to achieve this goal, the author of current work uses a periodization of F. Schubert’s chamber legacy, created by H. Gleason and W. Becker (1988) as well as models of “biography scenario”, revealed by N. Savytska (2010). According to the former one, Violin sonatas, written in 1816–1817, don’t belong to the “mature” works; at the same time according to the latter ones, due to F. Schubert’s style evolution being smooth and gradual its starting and finishing points have no radical discrepancies, that would be caused by the change of orientation of composer’s creative method, and as a result, in the early works one can discern some key features of the mature ones. It is relevant, among others, for the sonata genre, where composers first achievements, incidentally, were made in its violin type, preceding highly individual accomplishments of piano sonatas. This situation in the given article is explained as a result of a composer becoming more and more mature as a musician through his life, undoubtedly influenced by special features of this process. Results and discussion. Given that F. Schubert’s Violin sonatas are named differently by performers, publishers and scholars (op. 137 consists of three Sonatas or Sonatinas, op. 162 is also known as “Duo”), it was necessary to conduct a research basing on various sources (Holl, 1973; Vetter, 1953; Deutsch, 1978), in order to ensure righteousness of definition of all the pieces regarded as “sonata”. On the foreground of observation on F. Schubert’s understanding of the cycle it was possible to reveal composer’s loyalty to rules of his time. Sonata ор. 137 № 1 is composed as a classical three-movement model; subsequent ones, including op. 162, embody four-movement model, and that can be a reason to draw parallels between F. Schubert and L. van Beethoven. Individual steps of the journey of author’s self-identification as a composer are traced. Sonata ор. 137 № 1 is marked by frequent employment of variative development in the principal theme of the first movement, that causes its turning into digressive episode; inclusion of contrasting episode in the middle sections of Andante in Sonatas ор. 137 № 2–3 (that is not prescribed by chosen musical form) foreshadows tonal device, favoured by F. Schubert in his mature works – preference to Subdominant sphere over Dominant in four-movement cycle with tonal and dramaturgical highlighting of pair “lyricism – game” in middle movements (slow ones and Minuets); binarity of tonal centres in expositions and even recapitulations of sonata form being substituted by ternarity, that causes a whole section to be a principal unit of structure etc. Sonata op. 162 acquires significance of climax in F. Schubert’s ascent to self-identity in sonata genre. Its expanded structure, including gigantic development of the Finale, Minuet being substituted by Scherzo, parts of performers being completely equal in every respect allow to regard this work as first “Grand Sonata” in F. Schubert’s legacy. Moreover – experience gained by composer while creating it will be applied in cyclic composition for piano in mature period of creativity. Conclusions. In Conclusions analytical observations are summarized and generalized as well as levels of artistic structure of Violin sonatas, incarnating specifics of F. Schubert’s understanding of music as a composer of his historical time, are revealed.

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15

Buch, Esteban. "Adorno's "Schubert": From the Critique of the Garden Gnome to the Defense of Atonalism." 19th-Century Music 29, no. 1 (2005): 025–30. http://dx.doi.org/10.1525/ncm.2005.29.1.25.

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This article situates Adorno's "Schubert" in the context of the 1928 centennial, showing the originality of his position on the issue of Schubertian kitsch (as represented by Heinrich Bert's operetta Das Dreimaderlhaus). This is related to Adorno's attitude toward organicism, characterized by a critique that was relevant on both the political and the theoretical level. His antiorganicist vision of Schubert's music is compared to the nationalist stance of a Richard Benz, typical of right-wing readings of German cultural greatness, and also to the analytical a prioris of two pupils of Schenker, Felix Salzer and Otto Vrieslander (as shown in their perception of the exposition of the Bb-Major Sonata). Finally, Adorno's attitude toward Schubert is related to his commitment on behalf of a "Schoenbergian politics," which led him to view both Schoenberg's and Schubert's music as an alternative to a musical canon shaped by a shared belief in organicism.

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16

Muxfeldt, Kristina. "Schubert, Platen, and the Myth of Narcissus." Journal of the American Musicological Society 49, no. 3 (1996): 480–527. http://dx.doi.org/10.2307/831770.

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When Franz Schubert's friend Franz von Bruchmann returned to Vienna in 1821 from his studies in Erlangen, he brought with him August von Platen's Ghaselen just off the press. Soon after, Schubert set two Platen texts. A reviewer for the Leipzig Allgemeine musikalische Zeitung singled out "Die Liebe hat gelogen" as particularly incomprehensible, in part because he found Schubert's radical harmony to be unmotivated by the text. The daring harmonic language of the second Platen song has struck even recent critics as excessive, yet none have addressed the textual motivation for Schubert's extreme expression. Both poems concern ill-fated homosexual love, "Du liebst mich nicht" most explicitly, if obliquely: the poem is a veiled reflection on the myth of Narcissus, a myth Platen frequently drew on as a symbol for his own homosexuality.

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17

Dolinszky, Miklós. "schöne Müllerin - eine authentische Fälschung?" Die Musikforschung 52, no. 3 (September 22, 2021): 322–30. http://dx.doi.org/10.52412/mf.1999.h3.900.

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Franz Schuberts <Die schöne Müllerin> war zunächst in einer postum bei Anton Diabelli gedruckten Fassung bekannt und beliebt, die heute im Allgemeinen als eine Umarbeitung des Schubert'schen Werkes angesehen wird. Trotz der manchmal starken Eingriffe in den Notentext kann anhand einiger Exemplare gezeigt werden, dass die Lieder im Wesentlichen auf Schubert selbst zurückgehen. bms online (Schöner, Oliver)

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18

Anderson, Robert. "Schubert." Musical Times 127, no. 1726 (December 1986): 693. http://dx.doi.org/10.2307/964674.

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19

Newbould, Brian. "Schubert." Musical Times 134, no. 1805 (July 1993): 388. http://dx.doi.org/10.2307/1003091.

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20

Cason, T. Elizabeth. "Schubert." Nineteenth-Century Music Review 3, no. 2 (November 2006): 203–6. http://dx.doi.org/10.1017/s1479409800000744.

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21

Bruce, Richard. "Schubert." Nineteenth-Century Music Review 1, no. 1 (June 2004): 190–91. http://dx.doi.org/10.1017/s1479409800002032.

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22

Caskel, Julian. "Adorno, Schubert, Beethoven." Archiv für Musikwissenschaft 76, no. 2 (2019): 98. http://dx.doi.org/10.25162/afmw-2019-0005.

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23

Maier, Franz Michael. "Two Versions of : What Franz Schubert Tells Us about a Favourite Song of Beckett." Samuel Beckett Today / Aujourd'hui 18, no. 1 (October 1, 2007): 91–100. http://dx.doi.org/10.1163/18757405-018001007.

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The printed version of Franz Schubert's song shows two main improvements over the draft. The aesthetic principles that become visible in a comparison of the two versions of the song surprisingly are not at all unfamiliar to Beckett scholars. Hence, the link between Beckett and Schubert can be established on a philological basis.

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24

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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Lambert, Sterling. "Franz Schubert and the Sea of Eternity." Journal of Musicology 21, no. 2 (2004): 241–66. http://dx.doi.org/10.1525/jm.2004.21.2.241.

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The sea, in its seemingly limitless expanse, symbolized the concept of eternity to a number of important artists of the early 19th century, including Coleridge, Friedrich, and Goethe, who struggled to come to terms with this difficult concept through revision of their initial thoughts and ideas. Goethe's poem Meerestille was set by both Beethoven and Schubert within weeks of one another, and Schubert's two settings, written in the space of only two days, demonstrate the young composer's increasing ability to grasp the existential notion of timelessness as he grappled with Goethe's text. Schubert's musical reading and subsequent re-reading of the poem show how his use of the tritone as a musical symbol of the infinite underwent significant refinement in his second setting.

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MAK, SU YIN. "Schubert's Sonata Forms and the Poetics of the Lyric." Journal of Musicology 23, no. 2 (2006): 263–306. http://dx.doi.org/10.1525/jm.2006.23.2.263.

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ABSTRACT Although recent scholarship has witnessed a welcome disavowal of the view that Schubert's formal and tonal designs in sonata form compositions bespeak the song composer's inability to master large-scale instrumental genres, it remains a commonplace to characterize Schubert's unorthodox practice as ““lyrical.”” Yet the historical, theoretical, and aesthetic bases of this lyricism have received little critical attention. A systematic and historically grounded approach to the notion of lyrical form in Schubert may be established by appealing to the rhetorical distinction between hypotaxis and parataxis, which pervaded late 18th-century discussions of both music and language. In particular, parataxis, a style that deliberately omits syntactical connections and relies instead on juxtaposition and parallelism, offers a suggestive technical link between Schubert's instrumental practice and the discursive techniques of contemporaneous lyric poetry. There are also aesthetic connections between idealist views of the lyric and the composer's own artistic beliefs, as confirmed by biographical documents. Schubert's approach to form was as much informed by these literary sensibilities as by the Classical compositional tradition. Like poets for whom the lyric served both as an Arcadian ideal of song and as an alternative to the prosaic realities of the present, Schubert evoked the lyric within the context of the sonata as a means of reunifying the dissociated sensibility of the Enlightenment. In so doing, he secured a place for the poetic imagination in instrumental music.

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27

Jeremic-Molnar, Dragana. "The listener of the chthonic god sand the barroom player: Adorno’s experience of Schubert." Filozofija i drustvo 22, no. 2 (2011): 173–90. http://dx.doi.org/10.2298/fid1102173j.

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In this article the author is reconstructing the complex picture of Franz Schubert created by Theodor Adorno in his numerous references to the Viennese composer, but mostly in his 1928 article ?Schubert?. In the late 1920s Adorno experienced Schubert as the tragic composer whose music dwells in the realm of chthonic gods, but nevertheless reveals the joy of ?traveling folk, jugglers and tricksters?. It remained, however, unclear how this joy could survive in the hellish landscapes of Schubert?s chthonic music. Later, Adorno recognized Schubert, due to his ?habitus?, as the barroom player as well, never mentioning ?traveling folk, jugglers and tricksters? any more. This two images of Schubert - Schubert as the Listener of the Chthonic Gods and Schubert as the Barroom Player - proved to be an interesting pair, worth of further theoretical elaboration, which Adorno unfortunately never bothered to undertake.

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Sottile, Frank. "Pieri’S Formula Via Explicit Rational Equivalence." Canadian Journal of Mathematics 49, no. 6 (December 1, 1997): 1281–98. http://dx.doi.org/10.4153/cjm-1997-063-7.

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AbstractPieri’s formula describes the intersection product of a Schubert cycle by a special Schubert cycle on a Grassmannian. We present a new geometric proof, exhibiting an explicit chain of rational equivalences from a suitable sum of distinct Schubert cycles to the intersection of a Schubert cycle with a special Schubert cycle. The geometry of these rational equivalences indicates a link to a combinatorial proof of Pieri’s formula using Schensted insertion.

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29

Lam, Thomas, and Mark Shimozono. "Quantum double Schubert polynomials represent Schubert classes." Proceedings of the American Mathematical Society 142, no. 3 (December 11, 2013): 835–50. http://dx.doi.org/10.1090/s0002-9939-2013-11831-9.

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30

Chung, Yi Eun. "Lateness and Schubert: Schubert’s Heine Setttings as Late Work." Journal of the Science and Practice of Music 49 (April 30, 2023): 101–34. http://dx.doi.org/10.36944/jspm.2023.04.49.101.

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31

Aluffi, Paolo, and Leonardo C. Mihalcea. "Chern–Schwartz–MacPherson classes for Schubert cells in flag manifolds." Compositio Mathematica 152, no. 12 (November 14, 2016): 2603–25. http://dx.doi.org/10.1112/s0010437x16007685.

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We obtain an algorithm computing the Chern–Schwartz–MacPherson (CSM) classes of Schubert cells in a generalized flag manifold$G/B$. In analogy to how the ordinary divided difference operators act on Schubert classes, each CSM class of a Schubert class is obtained by applying certain Demazure–Lusztig-type operators to the CSM class of a cell of dimension one less. These operators define a representation of the Weyl group on the homology of$G/B$. By functoriality, we deduce algorithmic expressions for CSM classes of Schubert cells in any flag manifold$G/P$. We conjecture that the CSM classes of Schubert cells are an effective combination of (homology) Schubert classes, and prove that this is the case in several classes of examples. We also extend our results and conjecture to the torus equivariant setting.

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32

King, Alec Hyatt, and John Reed. "Schubert Revealed." Musical Times 128, no. 1733 (July 1987): 386. http://dx.doi.org/10.2307/964532.

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33

Hanson, Alice M., Walther Durr, and Andreas Krause. "Schubert-Handbuch." Notes 55, no. 2 (December 1998): 391. http://dx.doi.org/10.2307/900193.

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34

Ehrhardt, Damien, Ernst Hilmar, and Margret Jestremski. "Schubert-Enzyklopädie." Revue de Musicologie 92, no. 1 (January 1, 2006): 217. http://dx.doi.org/10.2307/20141654.

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35

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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36

Vakil, Ravi. "Schubert induction." Annals of Mathematics 164, no. 2 (September 1, 2006): 489–512. http://dx.doi.org/10.4007/annals.2006.164.489.

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37

Kramer, Richard. "Posthumous Schubert." 19th-Century Music 14, no. 2 (1990): 197–216. http://dx.doi.org/10.2307/746203.

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38

Winter, Robert S. "Whose Schubert?" 19th-Century Music 17, no. 1 (1993): 94–101. http://dx.doi.org/10.2307/746785.

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39

Rast, Nicholas, Nigel Cliffe, and Maggie Whitman. "Schubert 200." Musical Times 137, no. 1843 (September 1996): 2. http://dx.doi.org/10.2307/1004137.

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Winter, Robert S. "Whose Schubert?" 19th-Century Music 17, no. 1 (July 1993): 94–101. http://dx.doi.org/10.1525/ncm.1993.17.1.02a00090.

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41

Adorno, Theodor. "Schubert (1928)." 19th-Century Music 29, no. 1 (2005): 003–14. http://dx.doi.org/10.1525/ncm.2005.29.1.3.

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42

Zeger, Brian. "Schubert Continued." Yale Review 86, no. 1 (January 1998): 185–90. http://dx.doi.org/10.1111/0044-0124.00206.

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Vishvantara. "After Schubert." Poem 6, no. 3-4 (October 2, 2018): 358. http://dx.doi.org/10.1080/20519842.2018.1522048.

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44

Platt, Heather. "Schubert Online." Nineteenth-Century Music Review 13, no. 1 (April 4, 2016): 105–11. http://dx.doi.org/10.1017/s1479409815000555.

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45

Voronov, A. A., and Yu I. Manin. "Schubert supercells." Functional Analysis and Its Applications 18, no. 4 (1985): 329–30. http://dx.doi.org/10.1007/bf01083695.

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46

Störkel, S. "Günther Schubert." Der Pathologe 39, S2 (September 10, 2018): 353–54. http://dx.doi.org/10.1007/s00292-018-0490-2.

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47

Thiessen, Jan. "Werner Schubert †." JuristenZeitung 79, no. 12 (2024): 556. http://dx.doi.org/10.1628/jz-2024-0176.

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48

Röhl, Thomas. "„Wir helfen unseren Kunden, die Perspektive zu weiten“." packREPORT 54, no. 1-2 (2022): 18–19. http://dx.doi.org/10.51202/0342-3743-2022-1-2-018.

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Schubert-Consulting ist ein Geschäftsbereich der Schubert Packaging Systems – hervorgegangen aus der Gerhard Schubert GmbH. Auf Basis dieser jahrzehntelangen Expertise im Verpackungsbereich beraten Michael Graf, Director Consulting, und sein Team Kunden zu allen Prozessen rund um das Verpacken von Produkten.

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49

Marston, Nicholas. "Schubert's Homecoming." Journal of the Royal Musical Association 125, no. 2 (2000): 248–70. http://dx.doi.org/10.1093/jrma/125.2.248.

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This article explores the metaphorical identification of the tonic key as ‘home’ in relation to the first movement of Schubert's Piano Sonata in B♭, D.960. Rejecting conventional readings whereby a ‘foreign’ or ‘alien’ element is ultimately assimilated into the ‘home’ sphere, it argues that in this movement Schubert succeeds in doing the reverse, rendering the tonic ‘unhomely’ (unheimlich; ‘uncanny’) at a critical moment in the recapitulation. Schubert's practice in this instance is contrasted with that of Beethoven in selected middle-period works; and Schubert's own fragmentary continuity draft for the movement, as well as songs from Die Winterreise and Schwanengesang, are brought to bear on the investigation of ‘home’ and ‘das Unheimliche’.

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50

MAK, SU YIN. "SCHUBERT AS SCHILLER’S SENTIMENTAL POET." Eighteenth Century Music 4, no. 2 (September 2007): 251–63. http://dx.doi.org/10.1017/s1478570607000930.

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ABSTRACTSchubert’s lifelong interest in literature, his close friendships with poets and his preference for lyric poetry in his prolific song settings suggest that his compositional language may be shaped as much by a literary imagination as by musical concerns. This article argues for a close correspondence between Schubert’s late instrumental style and Friedrich Schiller’s conception of the elegiac. In ‘On Naïve and Sentimental Poetry’ Schiller describes the sentimental poet as having to contend with two conflicting objects, the ideal and actuality, and to represent their opposition either satirically or elegiacally: whereas satire rails against the imperfections of present reality, elegy expresses longing for an ideal that is lost and unattainable. Paradoxically, however, the poet’s longing must take place in a flawed present; the elegiac thus projects not only a disjunction between divided worlds, but also a cyclic temporality in which memory and desire, past and future, are both entwined with the immediacy of present experience. In both Schiller and Schubert, this paradoxical temporal sensibility is often represented by patterns of returning, repetition and circularity. A close reading of Schubert’s Moment musical in A flat major, d780/2, illustrates how Schiller’s conception of the elegiac might be put into analytical practice.

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