Revealing the connections that link Schubert's distinctive sound world to performance practice, social history, aesthetics, organology, analysis and interpretation, this book offers a new understanding of Schubert's piano music for researchers, students, performers and listeners interested in early nineteenth-century Viennese musical culture.
Revealing the connections that link Schubert's distinctive sound world to performance practice, social history, aesthetics, organology, analysis and interpretation, this book offers a new understanding of Schubert's piano music for researchers, students, performers and listeners interested in early nineteenth-century Viennese musical culture.
List of figures List of tables List of music examples Notes on contributors Acknowledgements Abbreviations and conventions Introduction Matthew Gardner and Christine Martin Part I. The Piano In Schubert's World: 1. Franz Schubert as a pianist Andrea Lindmayr-Brandl 2. Between society and solitude: Schubert's improvisations Lorraine Byrne Bodley 3. The piano in Schubert's lied texts Andreas Dorschel 4. Schubert's four-hand piano music Thomas Christensen Part II. Instruments and Performance: 5. Schubert and the Viennese piano Matthew Gardner 6. Performing simultaneous triplets and dotted rhythms in Schubert's piano music David Rowland 7. Viennese pianoforte treatises as reflection of Schubert's pianistic audience Mario Aschauer Part III. Sound and Musical Imagery: 8. Schubert as balladeer Laura Tunbridge 9. The piano and musical imagery in Schubert's lieder Marjorie Hirsch 10. Franz Schubert, death, and the gothic Joe Davies 11. Una corda: Beethoven's and Schubert's exploration of the piano's sonority as a structural resource Hans-Joachim Hinrichsen Part IV. Understanding Schubert's Writing for the Piano: 12. Schubert and the style brillant: variation and figuration in Schubert's concertante chamber music with piano Christine Martin 13. Rethinking development and variation in Schubert¿s last piano sonatas: what do the drafts and final versions reveal? Anne M. Hyland 14. Reflections and echoes in Schubert's waltzes James William Sobaskie 15. 'Schubert would have no objection if he knew about it': Franz Liszt's reception of Schubert's music Andrea Wiesli Select bibliography Index.
List of figures List of tables List of music examples Notes on contributors Acknowledgements Abbreviations and conventions Introduction Matthew Gardner and Christine Martin Part I. The Piano In Schubert's World: 1. Franz Schubert as a pianist Andrea Lindmayr-Brandl 2. Between society and solitude: Schubert's improvisations Lorraine Byrne Bodley 3. The piano in Schubert's lied texts Andreas Dorschel 4. Schubert's four-hand piano music Thomas Christensen Part II. Instruments and Performance: 5. Schubert and the Viennese piano Matthew Gardner 6. Performing simultaneous triplets and dotted rhythms in Schubert's piano music David Rowland 7. Viennese pianoforte treatises as reflection of Schubert's pianistic audience Mario Aschauer Part III. Sound and Musical Imagery: 8. Schubert as balladeer Laura Tunbridge 9. The piano and musical imagery in Schubert's lieder Marjorie Hirsch 10. Franz Schubert, death, and the gothic Joe Davies 11. Una corda: Beethoven's and Schubert's exploration of the piano's sonority as a structural resource Hans-Joachim Hinrichsen Part IV. Understanding Schubert's Writing for the Piano: 12. Schubert and the style brillant: variation and figuration in Schubert's concertante chamber music with piano Christine Martin 13. Rethinking development and variation in Schubert¿s last piano sonatas: what do the drafts and final versions reveal? Anne M. Hyland 14. Reflections and echoes in Schubert's waltzes James William Sobaskie 15. 'Schubert would have no objection if he knew about it': Franz Liszt's reception of Schubert's music Andrea Wiesli Select bibliography Index.
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