Index of Schubert's Works

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Index of Schubert’s works

“Die Allmacht” (D. 852) 19–21, 273 “Gesang der Geister über den Wassern” “Am Feierabend” from Die schöne Müllerin (D. 714) 99–100 (D. 795/5) 34–35, 85–86, 273 “Das Grab” (D. 330) 294 “Am Flusse” (D. 160) 116–121 “An die Nachtigall” (D. 497) 21–22 “Hagars Klage” (D. 5) 8–10, 22, 23, 30, 83, “An Emma” (third version, D. 113) 66–67 152, 269 “Auf dem Flusse” from Winterreise (D. “Das Heimweh” (D. 851) 55–58, 71–72 911/7) 236–244, 298–299 “Auf dem Strom” (D. 943) 11–12, 272 “Ihr Bild” from Schwanengesang (D. “Aufl ösung” (D. 807) 30–32, 272 957/9) 300 “Aus Heliopolis II” (D. 754) 54–55, 83–84, Impromptus in C Minor, Eb, Gb Major, and Ab 282, 291 Major (D. 899) 201–235, 286, 293, 294–298 “Beim Winde” (D. 669) 272 Impromptu in Bb Major (D. 935/3) 294 “Die Berge” (D. 634) 97–99 “Die böse Farbe” from Die schöne Müllerin “Der Jäger” from Die schöne Müllerin (D. 795/17) 102–104, 298 (D. 795/14) 92–93, 99, 281 “Die junge Nonne” (D. 828) 191–200, Characteristic March No. 2 in C Major for 293–294, 300 Four-Hand Piano (D. 968b [886]) 52–54 Ländler in D Major from Zwölf Ländler (D. 790/1) 15–18 “Das war ich” (D. 174) 28–29, 73–74 Ländler in Gs Minor from Zwölf Ländler Divertissement à la Hongroise for Four-Hand (D. 790/6) 126–131, 284 Piano (D. 818), mvmt. 3 55 “Der Leidende” (D. 432a) 18, 20 “Die Einsiedelei” (D. 337) 113–116, 220, 230, “Die Liebe hat gelogen” (D. 751) 81–82 302 “Liebesbotschaft ” from Schwanengesang (D. 957/1) 268 “Erinnerungen” (D. 98) 77–78, 289 “Liebesrauch” (D. 179) 72, 272 “Erlkönig” (D. 328) 207, 214 “Lied der Mignon” (D. 877/3) 58–59 “Erster Verlust” (D. 226) 121–126, 234, 238, 283 Mass No. 2 in G Major (D. 167), Credo 34 “Die Erwartung” (D. 159) 44–45 Mass No. 6 in Eb Major (D. 950), Sanctus 70–71 Fantasie in C Major (“Wanderer,” D. 760), Menuet in C Major (D. 995/1) 68–69 mvmt. 4 41–44 Moment Musical in Ab Major (D. 780/2) “Fülle der Liebe” (D. 854) 58 104–107, 282 Moment Musical in Ab Major (D. 780/6) “Ganymed” (D. 544) 135–148, 284–286, 287 67 “Gefror’ne Th ränen” from Winterreise Moment Musical in Cs Minor (D. (D. 911/3) 300 780/4) 93–95, 96–97 “Das Geheimniss” (D. 250) 20–21, 23 “Morgengruß” from Die schöne Müllerin “Geist der Liebe” (D. 414) 33 (D. 795/8) 270

Index of Schubert’s works 317

“Der Müller und der Bach” from Die schöne “Schwertlied” (D. 170) 11–12 Müllerin (D. 795/19) 108–110 String Quartet No. 14 in D Minor (D. 810), mvmt. 1 83–85, 99–100; mvmt. 3 284; “Nachthymne” (D. 687) 41–42, 268 mvmt. 4 16–18, 295–296 String Quintet in C Major (D. 956), mvmt. Piano Sonata in A Major (D. 664), mvmt. 1 65–66, 78–80, 83, 280; mvmt. 2 298 1 73–74; mvmt. 2 65–66, 72 “Suleika I” (D. 720) 75–77 Piano Sonata in A Major (D. 959), mvmt. Symphony No. 1 in D Major (D. 82), mvmt. 3 26–28 1 75 Piano Sonata in A Minor (D. 537), mvmt. Symphony No. 3 in D Major (D. 200), mvmt. 1 281; mvmt. 3 3–8, 8, 9, 85, 268, 280 3 44–47, 300 Piano Sonata in A Minor (D. 784), mvmt. Symphony No. 4 in C Minor (“Tragic,” 2 179–190, 278, 291–293 D. 417), mvmt. 1 48 Piano Sonata in A Minor (D. 845), mvmt. Symphony No. 6 in C Major (D. 589), mvmt. 1 72–73, 86–87 4 275 Piano Sonata in Bb Major (D. 960), mvmt. Symphony No. 8 in B Minor (“Unfi nished,” 1 48–49, 245–263, 299–305 D. 759), mvmt. 1 159–178, 289–291, 295, Piano Sonata in C Minor (D. 958), mvmt. 304 1 12–13, 15, 24–26; mvmt. 2 80–81; Symphony No. 9 (7) in C Major (“Th e Great,” mvmt. 4 108 D. 944), mvmt. 3 95, 100 Piano Sonata in D Major (D. 850), mvmt. 1 50–52; mvmt. 2 87–88, 110–113, 294; “Todtengräber-Weise” (D. 869) 68–70 mvmt. 3 60–64, 181, 195–196, 274–275, “Tränenregen” from Die schöne Müllerin 278, 281, 300, 301 (D. 795/10) 100–101 Piano Sonata in F Minor (D. 625), Trio 269 “Ungeduld” from Die schöne Müllerin (D. 795/7) 36–40, 82, 273 Quintet in A Major (“Trout,” D. 667), mvmt. 1 149–158, 286–289 Variation on a Waltz by Diabelli (D. 718) 89–91 Rondo in B Minor for Violin and Piano “Von Ida” (D. 228) 92–93 (D. 895) 29–31 Walz in D Major from Zwanzig Walzer for “Der Sänger” (D. 149) 83–84 Piano (D. 146/20) 23–24 “Schlafl ied” (D. 527) 82 “Der Wanderer” (D. 649) 32–33 Die schöne Müllerin (D. 795) 147, 282–283 Winterreise (D. 911) 201

Index of names and concepts

absent root 5, 29, 30, 37, 43, 66, 87–88, 92, bullet symbol xi, 5 284, 285 Burstein, L. P. 271, 272 Agawu, K. V. 278–279 6 Almén, B. 304 cadential 4 34, 167, 174, 197, 224–225, 274, antecedent/consequent 103, 117–118, 148, 286, 287, 298 161, 175–176, 191, 222, 237 Carpenter, P. 297 antipode 19, 64, 65, 113, 115, 157, 220, 271, Chopin, F. 266, 282 283 Piano Sonata in Bb Minor (“Funeral applied dominant 3, 5, 7, 10, 11, 196, 223, 225, March,” op. 35) 296 270, 271 chordal evolution 5, 10, 16–17, 36, 43, 123, arrow symbols (Æ and Æ) 7 126, 207, 221, 225, 239, 242, 268, 269, ascending 5–6 sequence 36, 44 –52, 68, 75–77, 270, 280, 285, 286, 296, 298 83–84, 90, 99–101, 100–101, 108, 140, chordal glide see parallel progression 148, 155–157, 161–162, 192, 193, 198, chordal ninth 5, 6, 10, 23, 29–30, 37, 43, 92, 224–225, 254, 274, 278, 281, 282, 290, 99, 112, 150, 169, 196, 207, 229, 235, 246, 291, 293 267, 268, 280, 281, 284, 287, 292, 294 assertion 6, 7, 15, 59, 65, 71, 73, 78, 80, 108, chordal seventh 5, 18, 29, 37, 43, 44, 71, 73, 113, 121, 152, 175, 177, 194, 222, 225, 77, 80, 99, 104, 112, 120, 154, 166, 195, 230, 271, 277, 280, 290, 294, 298 207, 224, 229, 253–254, 280, 283 associative harmony 297 chordal unfurling see unfurling augmented dominant 10 chromatic variant 56, 59–60, 64, 70, 105, 150, augmented sixth chords 5, 74, 78–80, 95, 112, 200, 222, 239, 242, 247–250, 254, 255, 115, 169–170, 193, 200, 228, 235, 249, 256, 258–259, 260–261, 269, 275, 276, 267, 274, 278, 287, 300 280, 283, 284, 287, 303 auxiliary progression 21, 222 chromaticism 3, 6, 7, 11, 15, 18, 19, 20, 23, 26, 29, 47, 48, 50–51, 63, 68, 70, 72, 75, 80, background 203 81, 85, 88, 90, 95, 96, 99, 100, 102, 103, Baker, J. M. 304 106, 107, 110, 121, 124, 128, 140, 143, Beach, D. 149–158, 275 150, 161, 168, 174, 191, 200, 216, 225, Beethoven, L. von 188 228, 233, 234, 239, 242, 243, 246–247, Piano Sonata in Ab Major (op. 26) 113, 220, 249, 252, 253, 254, 255, 257, 267, 270, 282 272, 280, 281, 282, 290, 292, 298, 301, String Quartet in C Major (op. 59, no. 3) 302, 304 293 circle of fi ft hs 14, 21, 52, 63–64, 73–74, 76–79, String Quartet in F Major (op. 18, no. 1) 91, 92–95, 100, 103, 104, 109, 126, 129, 295 136 137, 144, 151, 155–156, 170–171, 176, Symphony No. 8 in F Major (op. 93) 214, 222, 239, 255–257, 273, 275, 276, 288 280, 281, 282, 289, 301, 304 Trio for Violin, Cello and Piano in D Major circle of thirds 52–56, 70–71, 81, 86–87, 88, (op. 70, no. 1) 287 115, 176, 184, 250–252, 258, 276, 295, Variations on a Waltz by Diabelli (op. 301, 302 120) 89 Clark, S. 135, 141–148, 285–286, 287, 288 Berlioz, H. 270 Clementi, M. 283

Index of names and concepts 319

Cohn, R. 245–263, 275, 299–305 Everett, W. 284 collision 6, 11, 186, 235 exposition 73 common-tone augmented sixth chord 280, 294, 300 fi gured bass 5, 8, 32 common-tone diminished seventh chord 139, Fisk, C. 201–235, 294–298 182 Funktionstheorie 269 Cone, E. T. 270 Craigher de Jachelutta, J. N. 191 Ganymede 135–136, 139– 141, 146–147 Cube, F.-E. von 273 glide see parallel progression cyclic repetition 149–150, 172, 201, 203, 207, Goethe, J. W. von 116, 121, 135, 136, 285 208, 209, 210, 211, 214, 216, 286, 296–297 Hascher, X. 276, 299 Daedalus 215 Hatten, R. S. 179–190, 264, 287, 291–293 Darcy, W. 286, 290, 293 Haydn, F. J. 266, 272 Death 180, 184, 189–190 Piano Sonata in Eb Major (Hob. XVI: 49), death knell 190, 210 mvmt. 1 300 deceptive progression 10, 262, 277, 278 Hepokoski, J. 286, 290, 293 development section 73–74 hexatonic poles 275 Diabelli, A. Hoff mann, E. T. A. 287 Waltz in C Major 89–91, 280 homosexuality 135, 147 diatonic sequence 48 hypermeter 26, 286 Dineen, M. 297 dominant emulation 4, 7, 9, 15–17, 18, 20, 21, Icarus 215, 220 30, 36, 41, 48, 50–51, 52, 56, 63, 68, 71, idiosyncratic sequence 48, 224 73, 75, 77–78, 80, 83, 84, 85, 90–91, 95, illness (Schubert’s) 187–188, 189–190, 259, 99, 102, 103, 104, 107, 110, 118, 119, 127, 262, 291, 304 128, 138, 145, 148, 151, 162, 166, 170, incidental dissonance 267 193, 195, 196–197, 200, 214, 218, 221, interruption 60–62, 90–91, 159, 161, 166, 175, 222, 226–227, 229, 232, 233, 239, 247, 202, 204, 237–238, 240, 276, 281, 293 249, 253–254, 259, 260–261, 269, 271, 273, 274, 276, 277, 278, 279, 280, 282, Jackson, T. L. 286 285, 289, 298, 299, 300, 301, 303 Jelensperger, D. 282, 292 dominant parallel 240 Dunsby, J. 283 Kessler, D. 301 Kirnberger, J. P. 267, 268, 269, 282 elision 29, 31, 43, 52, 82, 83–84, 109, 204, 219, Kopp, D. 191–200, 275, 293–294 224, 227, 233, 249, 268, 302 Kramer, L. 135, 141–148, 264, 283, 284, embellishment 8, 31–32, 33, 55, 56, 58, 59, 64, 285–286 65, 67, 70, 104, 109, 113–115, 128, Kramer, R. 264, 268, 269, 289, 295 137–138, 142, 150–151, 159–160, 166, Krebs, H. 272, 299 167, 168, 177, 178, 179–181, 183–184, 192, 194, 198, 204, 216–219, 226, 227, Laitz, S. 283 230, 232, 246, 249, 252, 253, 260, 272, Lanz, J. 264 277, 278, 282, 292, 294, 298, 299, 300 Lerdahl, F. 300 enharmonic equivalence 21, 41, 44, 49–50, Lewin, D. 236–244, 270, 298–299 52–53, 55–56, 70, 71, 96–97, 105, 136, linear progression 41–64 146, 151, 156, 160, 168–170, 185, 188– Liszt, F. 190, 194, 198, 199, 200, 216, 219, 228, “Il penseroso” from Années de pèlerinage: 230, 246, 255, 256, 275, 276, 278, 279, Italie 113, 282 287–288, 292, 294, 296, 297, 300, 301, 303 Lobe, J. C. 267, 268, 269 equal subdivisions of the octave 55–56, 71, Loquin, A. 274 154–158, 275, 287, 301 Louis, R. 268, 269 essential dissonance 267 lower-fi ft h chord 33

320 Index of names and concepts

lower-third chord 6, 10, 56–60, 65–71, 90–91, pivot-chord modulation 193 95, 143, 150, 153–155, 188–190, 258, 261, Pyrker, L. 56 262, 269, 276, 281, 281, 284, 300 lowered supertonic see bII Quinn, I. 267

Mac, S. Y. 289 Rameau, J.-P. 268 McClary, S. 284 registral shift 7, 8, 62, 68–69, 88, 90, 120, 168, Marston, N. 305 175, 211, 212, 244, 253, 296 Marx, A. B. 293 Reichardt, J. F. medial caesura 184 “Ganymed” 285, 286 Mehrdeutigkeit 14–15, 128, 182–183, Réti, R., 287 188–190, 204, 222, 228, 229, 233, 235, retrograde 162, 171, 196 294, 297, 304 Riemann, H. 269, 270 Messing, S. 284 Riley, M. 278 Meyer, L. B. 287 Rings, S. 284, 297 modal mixture see parallel keys Roman numeral 4–5, 6, 10, 14, 26, 53, 59, 65, modulo 7 vs. modulo 12 50, 53, 55–56, 70–71, 71, 142, 144, 177, 183, 191, 193–194, 250–252, 274, 275, 276, 279, 281, 287, 224–226, 246, 267, 269, 270, 271, 273, 290, 301, 303 277, 281, 282, 302 Monelle, R. 281 Rosand, E. 289 Mozart, W. A. 175, 283 Rossini, G. 153, 175, 276 Piano Sonata in Bb Major (K. 281) 283 Guillaume Tell 281 String Quintet in C Major (K. 515), mvmt. Rothstein, W. 276 1 268 Müller, W. 102, 236, 244 Salzer, F. 276, 289, 299 multiple meaning see Mehrdeutigkeit Samarotto, F. 275, 296, 297 Satan 180, 291 natural minor 267 Schachter, C. 276 Neapolitan sixth see bII Schenker, H. 236, 240–241, 243, 249, 265, 269, neo-Riemannian analysis 297 270, 271, 273, 277, 281, 282, 283, 287, Newbould, B. 280 288, 289, 290, 293, 298, 299 Nolan, C. 274 Schenkerian analysis viii, xii, 60–62, 72, 91, 141, 148, 186, 196, 202, 204, 240–241, obstinate progression 48, 83–84, 192, 193, 243, 245, 276, 281, 285, 286, 291–292, 250, 255, 279, 281, 290 294, 296–297, 298, 302 omnibus 72, 164, 176 Schoenbergian analysis 297 open parentheses 26, 59, 246 Schumann, R. 284 Oster, E. 281, 298 Piano Sonata in Fs Minor, op. 11, mvmt. 4 overlap 162, 236 273 Sechter, S. 282 parallel fi ft hs 6, 11, 72, 126, 172, 272, 277, 298 seismic composition 137, 173–174, 284, 291 parallel keys 56, 75, 89, 96, 99, 101–106, 113, sexual activity (Schubert’s) 257, 304 142, 195, 198, 200, 210–211, 212, 213, Shakespeare 295 215, 219, 220, 222, 227, 229, 237–238, Siciliano, M. 299 256 Smith, C. J. 272 parallel progression 41–44, 50, 52, 53, 83–84, Smith, P. H. 277, 297 88, 92, 99, 108, 168–170, 177, 192, 234, Sobaskie, J. W. 298 280, 282, 290, 291 Solomon, M. 284 parenthetical passage 29, 37, 55–56, 183 Steblin, R. 305 passing chord 23, 29, 224 Stocken, F. 305 peculiar juxtapositions 26–31 Stufentheorie 4, 191, 247, 263, 264, 269 Picardy third 16, 282 subdominant recapitulation 149, 262, 286 Piston, W. 267 Swoboda, A. 280, 283, 294

Index of names and concepts 321

Taruskin, R. 159, 174–178, 277, 289–291, 295 voice leading 7, 18, 68, 85–86, 164, 175, 176, Th uille, L. 268, 269 272, 283, 294 tonicization 3, 12, 14, 41, 96, 102, 104, 120, 123, 154, 161, 162, 170, 184, 199, 200, Wagner, R. 205, 213, 232, 233, 252–253, 255, Lohengrin 268 258–259, 279, 285, 290, 295, 304 Weber, G. 290, 295 Tovey, D. F. 304 Webster, J. 301 Trümpy, B. 300 Weitzmann, C. F. 274, 280, 283, 294 twelve-note chromatic space see modulo 7 vs. whole-tone scale 71, 250, 256, 277 modulo 12 wobbly note 29, 31, 54, 56, 58, 64, 65, 66, 70, 80, 81, 83, 95, 106, 108, 143, 150, 152, Übergreifen 72, 277, 283 154, 173, 196, 197, 200, 215, 216, 219, unfolding 19, 23, 62, 166, 202, 243, 271, 274, 221–222, 227, 229, 230, 249, 272, 276, 279, 285, 290 277, 278 unfurling 31–35, 47, 48, 55, 84, 102, 109, 140, 159, 166, 174, 192, 216, 224–225, 230, Zeus 135–136, 140–141, 147 240, 247, 273, 278, 287, 290, 294, 299 upper-fi ft h chord 17, 24–26, 63, 73, 78, 96–99, 5–6 shift 6, 9, 15–16, 18, 20, 21, 23, 26, 36, 41, 108, 113, 124, 130, 137–138, 141, 225, 44, 45, 48, 50–52, 56, 59, 62, 65, 70, 81, 253, 270, 271, 275, 278, 282, 296 83, 85, 90, 93, 99, 102, 107, 109–110, 124, upper-third chord 10–11, 12, 14, 26, 56–60, 131, 140, 151–153, 156–157, 159, 63–64, 65–71, 80, 82–83, 85, 87–88, 161–162, 164, 165, 171, 180, 182, 195, 90–91, 95, 113–115, 137–138, 143, 151, 197, 200, 202, 205, 216, 217, 221, 152–154, 160, 188–190, 195–197, 202, 222–223, 224, 225, 226, 228, 230, 232, 208, 210, 213, 222, 239, 242–243, 249, 233, 242, 243, 246–250, 252, 255–259, 252, 254–256, 261, 262, 269, 272, 276, 260, 262–263, 269, 270, 271, 273, 274, 278, 281, 282, 284, 287, 290, 298, 301, 278, 279, 280, 283, 293, 294, 296, 298, 302, 303, 304 301, 302, 303 I-space 64, 67, 95, 129, 131, 195, 202, Verdi, G. 222–223, 244, 277, 278 Luisa Miller 284 IV-space 195 Vincent, H. J. 274 V-space 11, 12–14, 28, 80, 95, 105, 123, 222, Vogler, G. J. 267, 269 239, 277, 282 voice exchange 29, 67, 68–69, 88, 143, 246, bII 15, 103, 106–113, 121, 204–205, 225, 249, 249, 283 257, 267, 270, 282, 294