Schubert's Late Music: History, Theory, Style

doi:10.1017/CBO9781316275887

Schubert's late music has proved pivotal for the development of diverse fields of musical scholarship, from biography and music history to the theory of harmony. This collection addresses current issues in Schubert studies including compositional technique, the topical issue of 'late' style, tonal strategy and form in the composer's instrumental music, and musical readings of the 'postmodern' Schubert. Offering fresh approaches to Schubert's instrumental and vocal works and their reception, this book argues that the music that the composer produced from 1822–8 is central to a paradigm shift in the history of music during the nineteenth century. The contributors provide a timely reassessment of Schubert's legacy, assembling a portrait of the composer that is very different from the sentimental Schubert permeating nineteenth-century culture and the postmodern Schubert of more recent literature.

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Contents

Schubert's Late Music
pp i-ii
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Schubert's Late Music - Title page
pp iii-iii
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Copyright page
pp iv-iv
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Dedication
pp v-vi
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Contents
pp vii-ix
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Figures
pp x-x
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Music examples
pp xi-xvi
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Tables
pp xvii-xviii
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Contributors
pp xix-xxiv
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Acknowledgements
pp xxv-xxx
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Introduction: Schubert's late style and current musical scholarship
pp 1-16
- By Lorraine Byrne Bodley
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Part I - Reception histories
pp 17-88
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1 - ‘Classical’ music and Viennese resistance to Schubert's Beethoven project
pp 19-34
- By John M. Gingerich
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2 - Beethoven, Schubert and the movement of phenomena
pp 35-51
- By Scott Burnham
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3 - [Un]Himmlische Länge: editorial intervention as reception history
pp 52-76
- By Anne M. Hyland
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4 - Citation, narrative and meaning: Woody Allen and the late Schubert
pp 77-88
- By Harry White
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Part II - The late instrumental music (1): hermeneutics and performance
pp 89-190
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5 - Schubert's alchemy: transformative surfaces, transfiguring depths
pp 91-110
- By Robert S. Hatten
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6 - Against the grain: the Sonata in G (D. 894) and a hermeneutics of late style
pp 111-133
- By Richard Kramer
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7 - Schubert's Wiegenlied: the Andante sostenuto from the Piano Sonata in B♭, D. 960
pp 134-148
- By Eric Wen
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8 - Schubert's reconciliation of gothic and classical influences
pp 149-170
- By Marjorie Hirsch
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9 - The first movement of Schubert's Piano Sonata D. 959 and the performance of analysis
pp 171-190
- By Julian Horton
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Part III - The late instrumental music (2): meaning and genre
pp 191-306
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10 - Schubert hearing Don Giovanni: Mozartian death music in the ‘Unfinished’ Symphony
pp 193-218
- By Glenn Stanley
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11 - Longing for the unattainable: the second movement of the ‘Great’ C major Symphony
pp 219-240
- By Lauri Suurpää
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12 - Tonal recollection in Schubert's late instrumental music
pp 241-262
- By Ryan McClelland
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13 - Detours, wrong tracks and dead ends: the Wanderer in the labyrinth of Schubert's late instrumental music
pp 263-281
- By Xavier Hascher
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14 - Formal ambiguity and generic reinterpretation in the late instrumental music
pp 282-306
- By Su Yin Mak
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Part IV - Defining late style
pp 307-441
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15 - The ‘problem of solitude’ and critique in song: Schubert's loneliness
pp 309-330
- By Susan Youens
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Schubert's Late Music

History, Theory, Style

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