FRANZ SCHUBERT Neue Ausgabe Sämtlicher Werke
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Schubert-Handbuch
Schubert-Handbuch Ungekürzte Sonderausgabe Bearbeitet von Walther Dürr, Andreas Krause 1. Auflage 2007. Taschenbuch. X, 681 S. Paperback ISBN 978 3 476 02067 3 Format (B x L): 17 x 24 cm Gewicht: 1392 g Zu Inhaltsverzeichnis schnell und portofrei erhältlich bei Die Online-Fachbuchhandlung beck-shop.de ist spezialisiert auf Fachbücher, insbesondere Recht, Steuern und Wirtschaft. Im Sortiment finden Sie alle Medien (Bücher, Zeitschriften, CDs, eBooks, etc.) aller Verlage. Ergänzt wird das Programm durch Services wie Neuerscheinungsdienst oder Zusammenstellungen von Büchern zu Sonderpreisen. Der Shop führt mehr als 8 Millionen Produkte. XI Vorwort Gedenkjahre markieren Positionen: Das kon- tet. Der ein Jahr darauf erschienene Kongreß- zentrierte Interesse an einem Autor, an einem Bericht zieht gewissermaßen das Resümee der Ereignis verdeutlicht, wie Perspektiven und In- bis dahin geleisteten Arbeit. Das spiegelt sich teressen sich ändern und in welcher Weise die- bereits auf der dem Bericht vorangestellten se mit historischen Prozessen unmittelbar zu- Photographie: Sie zeigt Eusebius Mandyczews- sammenhängen. 1897, zu Schuberts 100. Ge- ki, den Redakteur der Alten Gesamtausgabe. burtstag, war die erste Schubert-Gesamtaus- Was zu tun war, schien weitgehend getan. Zu- gabe abgeschlossen. Sie war von Johannes gleich war auch eine musikgeschichtliche Epo- Brahms begründet worden und dokumentiert che zu Ende gegangen: Die Musik der Spätro- noch heute den unmittelbaren Rezeptionszu- mantik, die sich auf Schubert noch direkt be- sammenhang des Schubertschen Werkes: Schu- rief, war 1928 nicht mehr zeitgemäß. Und wie bert – Schumann – Brahms. Kreißles Schu- im Reflex wandte sich auch die Forschung an- bert-Biographie (1865) lag damals seit gut drei- deren Themen zu, der in einem ganz neuen ßig Jahren vor, eine Biographie, die sich noch Sinne wiederentdeckten »Alten Musik«. -
Schubert's Late Style and Current Musical Scholarship
Cambridge University Press 978-1-107-11129-5 — Schubert's Late Music Edited by Lorraine Byrne Bodley , Julian Horton Excerpt More Information Introduction: Schubert’s late style and current musical scholarship lorraine byrne bodley The theme of lateness When discussing Schubert’s ‘late’ works it is worth remembering that wearereferringtoacomposerinhislatetwenties.Whythen,dowe ascribe the classification ‘late’? And in what sense do we mean ‘late’? Istherenot,inallSchubert’s‘latemusic’,simplyanexperiencedcomposer’s calm and confident grasp of the tools of his trade? Or did Schubert’s knowledge that he was dying propel an early flowering of a ‘late’ style? If so, then how can we define this style as distinct from maturity? While Schubert scholars generally agree that the composer’s style changed, there is a distinct division in how we approach such questions, the contentious issuebeingwhetheritisevenviabletospeakoflatestyleinacomposerwho died so young. Behind this debate lies the biblical belief in the timeliness of human life, where ‘lateness’ is perceived as the final phase. But is ‘lateness’ always an indication of lateness in life, or can it emerge through a recognition that the end is near? In attempting to answer this question it is important to problema- tize the ways in which biology and psychology are often co-opted to explain the imprint composers left on their art. Goethe is often recognized as the progenitor of Alterstil (old-age style) as a positive phenomenon that involved a gradual withdrawal from appearances and a consequent approach to the infinite and mystical.1 From him we derive the attributes of non-finito, subjectivity and the blending of formal with expressive ele- ments that are still widely accepted as markers of late style, as is the perception that old age can lead to transcendence. -
Johann Michael Vogl's Alterations to Schubert's "Die Schonë Mullerin̈ "
University of Iowa Iowa Research Online Theses and Dissertations Spring 2009 Johann Michael Vogl's alterations to Schubert's "Die schonë Mullerin̈ " Joseph R Matson University of Iowa Follow this and additional works at: https://ir.uiowa.edu/etd Part of the Music Commons Copyright 2009 Joseph R Matson This thesis is available at Iowa Research Online: https://ir.uiowa.edu/etd/251 Recommended Citation Matson, Joseph R. "Johann Michael Vogl's alterations to Schubert's "Die schonë Mullerin̈ "." MA (Master of Arts) thesis, University of Iowa, 2009. https://doi.org/10.17077/etd.xsg0v6p1 Follow this and additional works at: https://ir.uiowa.edu/etd Part of the Music Commons JOHANN MICHAEL VOGL’S ALTERATIONS TO SCHUBERT’S DIE SCHÖNE MÜLLERIN by Joseph R. Matson A thesis submitted in partial fulfillment of the requirements for the Master of Arts degree in Music in the Graduate College of The University of Iowa May 2009 Thesis Supervisor: Associate Professor Marian Wilson Kimber Copyright by JOSEPH R. MATSON 2009 All Rights Reserved Graduate College The University of Iowa Iowa City, Iowa CERTIFICATE OF APPROVAL __________________________ MASTER’S THESIS _________________ This is to certify the Master’s thesis of Joseph R. Matson has been approved by the Examining Committee for the thesis requirements for the Master of Arts degree in Music at the May 2009 graduation. Thesis Committee: ___________________________________ Marian Wilson Kimber, Thesis Supervisor ___________________________________ Christine Getz ___________________________________ Katherine Eberle ACKNOWLEDGMENTS I wish to acknowledge the support of several people. The faculty, staff, and student body in the School of Music gave me the opportunity and support to pursue my research, in spite of the flood that closed the music building in 2008. -
Schubert and the Guitar
On the Periphery: Schubert and the Guitar Doctor of Musical Arts Essay Stony Brook University, 2015 George Benton England www.GeorgeEngland.com 2 Schubert studies have a remarkably controversial history. Peripheral to most of this scholarship is the matter of Schubert’s guitar music. With only two short works existing in manuscript form, his output for the instrument was minimal.1 Also, Schubert’s works with guitar are not typically viewed as his more advanced accomplishments. Many of the pieces that were published (read: not composed) for guitar accompaniment exemplify a very practical and commercially inclined Schubert. This Schubert created a fair amount of marketable music and tended easily to supply publishers like Anton Diabelli with the rights to his creations. These works demonstrate some of Schubert’s finest social music, which sold well in his lifetime. However commercially driven or simple these pieces may be, the inquiry into Schubert and the guitar provides us with an interesting duality: while his output of material for the instrument seems minimal, further investigation on this topic provides a more complete picture of the composer’s oeuvre. As the course of Schubert guitar scholarship has progressed in the past century, the question of claiming him as either a guitar composer or not has become moot, even passé. Thomas Heck aptly stated the question with an article in Soundboard, titled, “Schubert Lieder With Guitar…Permissible?”2 The answer to this question has been, for some time, a resounding yes! Continuing the discourse on Schubert’s works with guitar accompaniment is not only “permissible,” it is imperative. -
Considering Schubert and Nature: a Romantic Ecology
Considering Schubert and Nature: A Romantic Ecology MICHAEL FRANCIS DONOVAN A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO January 2014 © Michael Francis Donovan 2014 ii ABSTRACT Franz Schubert’s preoccupation with the nature-centric poetry of his day yielded a large body of musical landscapes and depictions of the human experience of nature. And while his songs are often associated with the “Volkstümlichkeit” of the 18th century, an aesthetic in which nature occupied a secondary role, this study underlines how Schubert would develop an idiosyncratic musical vocabulary conveying the inherently ecological nature of the texts, casting nature as a central subject in his poetic settings. The discourse of deep-ecology has reassessed the shallowness or quaintness traditionally ascribed to the Romantic view of nature, looking to the holistic view of nature in Romanticism as a template for the formulation of a contemporary deep-ecological worldview. Using experiential models of deep-ecology, namely phenomenology, embodied meaning and indigenous animism, this study revisits the archetypal Romantic wanderer’s experience of nature in Schubert’s poetic settings as an encounter between the individual and the natural world. Citing human-centric interpretations in musicological discourse, this study illustrates the need to reconsider the pivotal role of nature in seminal works of Schubert. Analyses of the choral setting of Gesang der Geister über den Wassern (D714), numerous Lieder, and the song cycle Die Winterreise uncovers the depth of Schubert’s commitment to the most forward-looking ideas on nature reflected in the philosophies of Goethe, Schiller, Schelling and Spinoza, fulfilling Friedrich Schiller’s vision for the formulation and expression of man’s place in nature in art. -
By Franz Schubert, Kassel: Bärenreiter, 2013 Su Yin Mak the Chinese University of Hong Kong
Performance Practice Review Volume 20 | Number 1 Article 4 "Werke für Klavier zu vier Händen" by Franz Schubert, Kassel: Bärenreiter, 2013 Su Yin Mak The Chinese University of Hong Kong Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Musicology Commons, Music Performance Commons, and the Music Practice Commons Mak, Su Yin (2015) ""Werke für Klavier zu vier Händen" by Franz Schubert, Kassel: Bärenreiter, 2013," Performance Practice Review: Vol. 20: No. 1, Article 4. DOI: 10.5642/perfpr.201520.01.04 Available at: http://scholarship.claremont.edu/ppr/vol20/iss1/4 This Book Review is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Book review: Schubert, Franz. Werke für Klavier zu vier Händen, Band III, ed. Walburga Litschauer (Nos. 2–5) and Werner Aderhold (No. 1); Urtext of the New Schu- bert Edition, BA 9645. Kassel: Bärenreiter, 2013. ISMN: 9790006539871. Su Yin Mak Begun in 1965 under its founding editors Walther Dürr and Arnold Feil, the Neue Schu- bert-Ausgabe (New Schubert Edition, hereafter NSA) is a major musicological undertak- ing. Like other complete-works editions, it aims to establish authoritative Urtexte for the composer’s works based on autographs, contemporary manuscript copies, first editions, and other primary sources. The third volume of Schubert’s Works for Piano Duet (Series VII/1, 3), edited by Walburga Litschauer and Werner Aderhold, contains all the late four- hand works written between 1826 and 1828: the Variations on a Theme from L.